Saturday Night (2000 Off-Broadway Revival Cast)
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Audio CD (20 June, 2000)
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Editorial Review

A few years before he burst onto Broadway with a stunning debut (as the lyricist for West Side Story), a certain young maverick was at work on his very first musical--though it would remain buried for almost a half century. Stephen Sondheim was only in his mid-20s when he wrote the music and lyrics in 1954 for Saturday Night, based on a play by Julius and Philip Epstein called Front Porch in Flatbush, a romantic comedy set in the Brooklyn of 1929. It's fascinating to detect in embryo traces of the Sondheim still to evolve: in the twists of imagery drawn from the stock market or in the rapid-fire, saucy tone that might easily fit into "Gee, Officer Krupke," as well as in the quietly yearning harmonies of the show's loveliest ballad, "So Many People." There's also a sweet innocence here (Sondheim has called it his "baby picture"), emanating from an era when being dateless on a Saturday night could be presented as one of life's major challenges. Although a few gems like "What More Do I Need?" had separately made it into circulation, the show received its very belated premiere in London, but the original 1998 cast recording that resulted left out four songs, such as "Gracious Living Fantasy," in which the Wall Street gofer hero Gene (played with guileless charm by David Campbell) imagines making it in high society. Moreover, Sondheim himself supervised the session for this recording (Nonesuch's first Sondheim cast album), made with the cast of the show's New York premiere, which was in early 2000 at Second Stage Theater. Saturday Night turns on its ensemble, which in this production is endearingly fresh and doe-eyed. Sure, it's a portrait of the artist as a very young man, but is not to be overlooked as a mere piece of juvenilia.--Thomas May ... Read more

Features

• Cast Recording

Reviews (25)

Sondheim's "baby picture"
Good cast, enjoyable score and rare chance to consider what might have happend if SATURDAY NIGHT had managed to open on Broadway in 1954.My guess is that it would not have been a huge hit but would have spun off one of those excellent Columbia Records original cast albums that musical comedy buffs cherish. "So Many People" would have become a hit record for Rosemary Clooney; and the cast would have performed "One Wonderful Day" on The Ed Sullivan Show. And it would have taken a lot longer for Stephen Sondheim to develop his own musical voice.

This is the version of SATURDAY NIGHT to get. The London cast recording is to be avoided.

A Simple Pleasure
This early Sondheim effort is a real surprise, in more ways than one.First of all, it's not the bland, nondescript show that he and other musical officianados have maintained it was all these years.It really is a simple pleasure.The second surprise is HOW much of a pleasure this musical is.I simply didn't expect to be listening to this score again and again.I certainly haven't listened to the last few Sondheim scores again and again.Once and then into the dustbin is more like it ("Passion" -- ugh!).This little musical is actually QUITE musical, with one memorable song after another spinning out of the speakers at you.Of course, it must be stated that the actors play a huge part in how entertaining this CD is.The enthusiasm and panache these young performers display really makes you feel for the characters, even distinguishing one from the other in several of the patter-type songs Sondheim is noted for."Saturday Night" brings to mind simpler, easier times, when being young and exuberant was everything, and the world was waiting like one big adventure.Sondheim's own youthful exuberance comes across in this musical as in no other he's ever written.The sardonic cynicism perveying most of his later work is nowhere to be found here, which makes this show unique in his canon.One wonders what happened along the way to make him lose the ability for the kind of joy found in the songs here.Sad.But don't let that deter you.This is not just a cast recording for Sondheim completists.Anyone who enjoys traditional, muscular "show" tunes, should give "Saturday Night" a try.You'll enjoy it the rest of the week.

Sondheim being conventional . . . ?
This show is clearly not Sondheim at his brilliant best, and yet it is a measure of the composer that even so, this musical is highly enjoyable. First pitched in the 1950's, it was finally premired in Britain at the Bridewell theatre (for which there is also a cast recording available). Two years later, this production was mounted off-Broadway to critical and public acclaim.

This is perhaps one of Sondheim's most 'accessible' scores in that it requires no particular concentration on the the part of the listener, and the compositional and lyrical tricks for which he is renowned do not play such a large part here. Instead, this is jazzily conventional 1950's Broadway musical with a story that Cole Porter wouldn't have turned down. There is not a single weak song in the entire show; from ballads such as 'So Many People' to the jumpy title number, all of the songs are beautifully written and performed excellently by a more than competant cast. The orchestrations perfectly evoke the 1920's setting and make the whole recording a delight to listen to. ... Read more

Asin: B00004TG64
Subjects:  1. Cast Recordings    2. Pop    3. Show Tunes    4. Showtunes / B'way   

West Side Story [Original Broadway Cast]
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Audio CD (15 September, 1998)
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Editorial Review

What is there left to say about this musical, deservedly one of the most famous in the canon? Created by what lyricist Stephen Sondheim described as "a unique concatenation of people" (Leonard Bernstein, Sondheim, Arthur Laurents, Jerome Robbins), the show remains as explosively vibrant, daring, and modern as it was decades ago. Bernstein integrated Latin percussion and jazz into his electrifying score, dazzlingly translating New York's unique vitality into a musical idiom. West Side Story has been adapted for jazz and interpreted by pop and opera singers, but you owe it to yourself to check out the original version to see what the fuss was all about. This new reissue adds over 20 minutes of "symphonic dances" as well as liner notes and production photos. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording
• Original recording remastered

Reviews (26)

One of Broadway's finest scores...but not the best recording
Leonard Bernstein and Stephen Sondheim's "West Side Story" ranks among my top 3 favorite Broadway scores ever.The beautiful, soaring music beautifully captures the passion and emotion of the simple, somewhat-dated, but ultimately compelling update of Shakespeare's "Romeo and Juliet."Somewhat unusually for me, however (since I usually prefer the original cast recordings over others), this is not my favorite recording of the score--there's nothing particularly wrong with any of the performances, but the production just seems to rob the music of its energy.The "Tonight" quintet, for example, is one of the most exciting and tension-filled moments in the show, but here it just comes across as flat and lifeless.Overall however if one is able to find a better recording or, ideally, see a live performance, they will experience first-hand the beauty, the passion, the energy of "West Side Story."

Romeo and Juliet on the West Side
Although the idea of a modern ROMEO AND JULIET, set as a conflict between two gangs, one American and one Puerto Rican, is itself inspired, it is really Leonard Bernstein's score, enhanced by young Stephen Sondheim's lyrics, that makes WEST SIDE STORY special.In his excellent liner notes, Ken Mendelbaum suggests that the original 1957 cast of WEST SIDE STORY will never be surpassed, and listening to the original cast recording I am tempted to agree.What makes these singer-actors so ideal is the fact that their youthful vitality goes with voices that do full justice to Bernstein's brilliantly integrated and complex score, which, though sometimes "jazzy," is classically based and often operatic (the conflict in the score between jazz and opera represents the conflict in the story between violence and love).Larry Kert as Tony, for example, has a boyish yet wide-ranging tenor that deals effortlessly with the tricky rhythms of "Something's Coming" and the long lines of "Maria" (what a beautiful pianissimo at the close of this song!), "Tonight" (ditto), and the Bellini-esque "One Hand, One Heart."His sound is complemented by the perfect purity of Carol Lawrence's (Maria) soprano.As the been-around Anita, Chita Rivera (who became a star with this role) makes a strong impression in "(I Like to Be in) America" and "A Boy Like That," which is set against Maria's "aria," "I Have a Love," with potent results.Not only are the two "fight scenes" electrifying to hear, but the entire recording has a theatrical energy typical of all the cast albums produced for Columbia by Goddard Lieberson (GYPSY, starring Ethel Merman, is another that I'd highly recommend).And it is wonderful to have, as bonus tracks, Bernstein's own symphonic suite based on the show's dance music.This CD is a priority for any musical theatre-lover.

An Essential Original cast Album!
Recorded just days after WEST SIDE STORY opened on Broadway this original cast disc is one of the best from the golden days of Goddard Lieberson at Columbia Records.He knew exactly how to translate a stage musical to records.The prologue needed more excitement so he added the sonds of the gang members and had the orchestra increase the tempo.Not every note would fit (the Lp was very long for its day: 57 minutes!) so some trims were made here and there but done with such skill that they are hardly noticed.On the other hand, the entire "Somewhere" Ballet is heard here. It was not used in the movie.

Some people prefer the movie soundtrack for its beefier orchestrations. It too is a very fine recording of the score. But this is the first, the original. The way WEST SIDE STORY sounded when it premiered.

Sony's reissue sounds sensational: crisp, and clear with every orchestral texture.The bonus tracks are a symphonic suite of dances that Bernstein extracted for concert performances. ... Read more

Asin: B000056TB2
Subjects:  1. Cast Recordings    2. Classical    3. Film Music    4. Musicals    5. Original Score    6. Show Tunes    7. Showtunes / B'way   

Gypsy - A Musical Fable (1959 Original Broadway Cast)
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Audio CD (18 May, 1999)
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Editorial Review

Considered by many to be the last great musical comedy, Gypsy tells the backstage tale of vaudeville entertainer turned stripper Gypsy Rose Lee and her overbearing mother, Rose. Stephen Sondheim's lyrics--composed in advance of Jule Styne's infectious music--provide a tight structure and natural language to the 1959 score, which produced more than its share of Broadway standards, including "Everything's Coming Up Roses," "Small World," "Some People," "If Momma Was Married," "Together Wherever We Go," and the climactic "Rose's Turn." Although the role of Rose has seen subsequent memorable interpretations by Angela Lansbury, Tyne Daly, and Bette Midler, the show was written for Ethel Merman, and she remains the definitive stage mother.

For this 1999 release, the recording has been remastered with numerous short passages restored and four tracks added. Merman sings alternate lyrics to "Some People" and a medley of "Mr. Goldstone" and "Little Lamb," all with piano accompaniment. Two other tracks are songs cut in tryouts: "Momma's Talking Soft" (gently swung here by Laura Leslie) was a duet for June and Louise that provides some context to the later line "Momma's talking loud," while "Nice She Ain't" is crooned by Bernie Knee, who is infinitely more suave than Jack Klugman ever would have been. Expanded to 63 minutes, this essential cast recording is now even more essential. --David Horiuchi ... Read more

Features

• Cast Recording

Reviews (28)

This Is The "Gypsy" Recording To Have: An Essential
Love her or hate her, for all practical intents and purposes Ethel Merman (1908-1984) was the voice of the Broadway musical for more than thirty years: a larger-than-life, flamboyant woman with a larger-than-life voice that could rip a door off its hinges.Her roles are legendary, ranging from Kate in the Gerswhin's GIRL CRAZY to Reno Sweeny in Cole Porter's ANYTHING GOES to Annie Oakley in ANNIE GET YOUR GUN.Near the end of her Broadway career she capped all previous triumphs with what most regard as her signature role: Mama Rose in the Sondheim and Styne GYPSY.

Although generally based on the life of celebrated stripper Gypsy Rose Lee, the play focused less on Gypsy and her sister actress June Havock than upon Mama Rose, the bombastic and endlessly determined stage mother from hell who propelled both daughters to stardom largely against their own inclination.By turns hilarious and monstrous, comic and tragic, Mama Rose was perhaps the only role that made full use of Merman's dramatic talents--and it didn't stint her on music either.GYPSY is one helluva show, and this remastered release of the original 1959 cast recording caputures it at full throttle.

There may be other contenders, but to my mind GYPSY has the single finest overture ever written for a Broadway play, an explosion of brass that sends chills up the spine.And when Merman explodes with her first number, "Some People," she puts chills on the chills!Although backed by a superior cast that includes Jack Klugman, it's Merman's show all the way, peaking with the frightening "Everything's Coming Up Roses"--perhaps the single finest example of denial ever found in a musical--and finishing up with the devastating "Rose's Turn."It is an amazingly powerful performance, more than deserving of all the accolades it received.

Over the years the dark GYPSY has received numerous stage revivals and two film versions, with stars that included Angela Lansbury, Tyne Daily, Bernadette Peters, Rosalind Russell, and Bette Midler--but whatever their individual merits, this is the GYPSY to have: all else seems ashes and dust beside it.The bonus of additional songs cut before the play's opening simply make it that much more desirable, but in the end it is Merman, pure, unfiltered, planted at center stage and still able to blow the doors off the joint.An essential.

GFT, Amazon Reviewer

Glorious!
With an intoxicating score by Jule Styne and ingenious lyrics by Stephen Sondheim, GYPSY is understandably considered one of the greatest musicals ever created. Though it didn't seem possible, this remastering of the 1959 recording is even more enjoyable than the original. Improved sound enables us to enjoy Ethel Merman's brassy voice and the orchestral details even better, and several delightful extra passages and alternate takes have been added. Also, two songs which were cut during tryouts are presented as bonus tracks. One of these, "Nice She Ain't", was supposed to be sung by Jack Klugman, and since he was not a singer he decided against tackling it (though it is a "talking song" and would have suited his limited range well). The other, "Momma's Talkin' Soft", is a sort of cynical comment on Rose's character and was meant to be sung by Louise and June in counterpoint to "Small World" in Act I. The loss of both of these songs from the first production was a colossal shame, and they deserve to be revived for future productions.

As other reveiwers have affirmed, this album crackles with the excitement of live theater, and allows us to hear character and storyline in addition to a mere succession of songs. One example of this occurs in Track 2, in which Baby June and Baby Louise audition for a vaudeville act. At one point in their duet, Louise enters a split second too late for the line "I'll dance when she's done" and is scolded by Rose, "You're behind honey, catch up, catch up!" The only reason she's "behind" is that June held her note too long in the previous bar. Rose, of course, is blind to this. Marvelous.

Enjoy this incomparable Broadway musical in a sparkling remastering!

"Here she is, boys!Here she is, world!Here's Rose!"
The great Ethel Merman dominates this classic original Broadway cast recording of GYPSY. Along with FUNNY GIRL, this musical has Jule Styne's most brilliant score - and that score is enriched by Stephen Sondheim's equally brilliant lyrics. Merman's voice, in 1959, remained strong, powerful, and trumpet-like in its clarity, showing its age only on certain sustained notes, where it wobbled slightly. Her way with a song, however, was as winning and unmistakable as ever; just listen to her touchingly simple and direct rendition of "Small World." Playing Herbie to Merman's Rose, Jack Klugman (of whom I am a fan) may seem an odd choice for a musical, but he gives excellent support -- if that is the word I want -- to Merman in "You'll Never Get Away from Me" and "Together Wherever We Go." As "Gypsy" herself, Sandra Church, with her warm middle voice, sounds lovely in the touching "Little Lamb" and like a fully mature star in her solo version of "Let Me Entertain You." Both Don Walker's orchestrations and Goddard Leiberson's engineering are superb, as is Columbia's digital remastering, which adds extra space and "liveness" to the recorded sound. This GYPSY fully deserves its fame as the finest cast recording ever produced. ... Read more

Asin: B00000J28I
Subjects:  1. Cast Recordings    2. Musicals    3. Pop    4. Show Tunes    5. Showtunes / B'way   

Do I Hear A Waltz? (1965 Original Broadway Cast)
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Audio CD (24 November, 1992)
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• Cast Recording

Reviews (7)

An unappreciated score by a fine cast
Even though the show was not a success and the authors have all taken their turns at trashing it, this recording makes a strong case for DO I HEAR A WALTZ.

It's another fine record production by Goddard Lieberson. Rodgers (who was from all reports drinking and quite nasty to his collaborators) came up with many of his trademark melodies and the title song won deserved popularity outside of the show. Sondheim for his part creates some crackling good lyrics ("Someone Woke Up"; "What Do We Do We Fly!") but its an odd score... you hear the romantic older style love songs from Rodgers with fairly basic (dare we say dull) lyrics then some wonderful lyrics set to atypical Rodgers tunes.Then suddenly it all comes together in the final few numbers: The Title Song, "Perfectly Lovely Couple" and "Thank You So Much." Maybe it's a show that Encores will revive someday.In the meantime we can appreciate this original cast album and thank Sony for releasing it on Cd with good notes and a synopsis in the booklet!

"Someone Woke Up....."
So begins the delightful DO I HEAR A WALTZ?, one of Richard Rodgers' most accomplished post-Hammerstein scores.Not since his days with Lorenz Hart had Rodgers written such an energetic, youthful and joyful score.Stephen Sondheim's lyrics are witty and wonderful.DO I HEAR A WALTZ? received a lukewarm response from critics and audiences, lasting only 220 performances at the 46th Street Theatre.

Based on Arthur Laurents' play THE TIME OF THE CUCKOO (which turned into the film SUMMERTIME starring Katharine Hepburn), the story concerns a teacher, Leona Samish (played by Elizabeth Allen), who's holiday in Venice is dominated by her romance with the handsome Renato di Rossi (played by Sergio Franchi).There are also a host of colorful supporting characters including the ebullient hotelier Signora Fioria (Carol Bruce - SARATOGA).

The score is delicious with the opening number perfectly setting up the scene ("Someone Woke Up"), to Fioria's big number "This Week Americans", and the 11 o'clock number "Stay".There's also the Title Song, sung for all its worth by the delicious belt of Elizabeth Allen.

For all the problems that plagued the musical during its inception, nothing shows on the sparkling cast album, where it sounds like the biggest hit of the season.For Broadway fans, this CD is a must-own.

You MUST hear a 'Waltz'!
Please,give this a chance.Forget what you've read and just sit and listen.Read the libretto, available at lots of libraries, or read "Time of the Cuckoo" which Arthur Laurents based "Waltz" on.The combo of Rodgers and Sondheim is always sneered at--maybe, like me, you will see that Rodgers romanticism and Sondheim's sort of optimistic realism are actually the perfect mismatch for the endearingly troubled characters in the play.

Mr.Producer, forget all the basicstage gossip and let the score sell the show for you.Audiences, demand your favorite companies mount a production! ... Read more

Asin: B0000027WA
Sales Rank: 21838
Subjects:  1. Classical    2. Music Theater    3. Musicals    4. Show Tunes    5. Showtunes / B'way   

Company - A Musical Comedy (1970 Original Broadway Cast)
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Audio CD (10 November, 1998)
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Editorial Review

Stephen Sondheim's Company still sounds as modern as it did when it opened in 1970. Donna McKechnie, Susan Browning, and Pamela Myers spoof the Andrews Sisters with gusto in the tongue-twisting "You Could Drive a Person Crazy," while Browning and Dean Jones's "Barcelona" is filled with longing and heartbreak. And, of course, Elaine Stritch reigns supreme, proving once more that you don't have to be the best singer to steal a musical. An extra track features Larry Kert (Tony in the original West Side Story) singing "Being Alive." Kert had replaced Jones early in the run but wasn't on the original cast recording. It would have been nice to finally get the lyrics, though. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording
• Original recording remastered

Reviews (39)

Being Alive means having COMPANY
There's no doubt that Sondheim is a genius, and this album is a testament to that. What separates him from other composers is that he is able to create songs that are lyrically meaningful and profound. The melody might suffer a little bit, because you won't probably able to hum it the first time you've heard it. But once you get used to the songs you'll realize that it's catchier than you'd expected. And that's when the true power of his songs truly soars. With other composers who may have a catchier music when first heard, but no matter how many times you hear it the lyrics will remain mediocre and run of the mill. That's why Sondheim's works is superior because the songs through repeated hearings will just be more beautiful and meaningful than ever.

I especially love Another Hundred People. I wonder why it's not as popular as the other songs. It's a very painful and perceptive song about the city life. The song captured perfectly the impersonal, individualistic, fast paced, and chaotic aspect of living in a big city. Work of genius. You could Drive a Person Crazy is another great song It's a really fun song.

Another highlight is Sorry-Grateful which is another perceptive song about married life. Being Alive which is probably the most popular song in the album is just a beautiful song. Great lyrics and melody. It talks about the necessity and joy of sharing one's life with someone could be the most wonderful aspect of living in spite of the baggage attached to it ("Someone to hurt you too deep, someone to sit on your chair and ruin your sleep..."). Truly one of the greatest songs ever written.

My minor complaint is that I hope as a bonus track they added a cleaner version of Being Alive without the back-ups and the talks. But other than that this is a must buy.

Grade: A

SONDHEIM USESLOVE AND MARRIAGE TO CREATE AMASTERPIECE!
Company is that rare musical that takes a real look into what is really going on in life.Company is filled with amazing songs, probably some the best in Broadway history.the story does not really have a plot, but it revolves around Robert, a bachelor and his journey finding love with that special person. One of The best are the bittersweet, yet true "Another Hundred People," sung beautifully by Pamela Myers, as she tells about the many people that come and come in this city.Another one is "Getting Married Today," where Beth Howland plays Amy, a worried bride who just might commit suicide on her wedding day.Not to forget the opening song "Company," which will have you humming the song for a while.Then there's "The Little things You Do Together, " where Elaine Stritch ( doing a perfect job) sings about the little things that make marriage great.There's the cutesy guilty pleasure "You Could Drive a Person Carzy," where three of Robert's girlfriends reflect on Robert himself.Then there are other great ones including "have I Got a Girl For You," "Side by Side by Side," "Poor Baby," and "Sorry-Grateful."The worst is Elaine Stritch's solo "the Ladies who Lunch." One song, "Barcelona" is sort of like poetry and is defitnetly passionate and beautiful sometimes ina quirky way, sung By Dean Jones (Robert) and Susan Browning (april) his girlfriend (or one of many).Then there's Robert's solo, "Being Alive,"where Robert looks at his life.Then to top it off is the finale which ends the show just right."Company" is filled with great songs, comedy, drama, etc.When you add it all up it = ONE OF THE GREATEST MUSICALS EVER!!!!! by Matthew Eng

Elaine Strich- SHE CAN SING
All of the above reviews criticize Elaine Strich's singing. I am a tough singing critic, and to me she sounds just fine. Not the world's best, just fine. Brilliant on these songs, though. "The Ladies who Lunch"... What a masterpiece! ... Read more

Asin: B00000DHSN
Subjects:  1. Cast Recordings    2. Musicals    3. Pop    4. Show Tunes    5. Showtunes / B'way   

Follies in Concert (1985 Live Performance) + Stavisky Film Score
Average Customer Review:
Audio CD (25 October, 1990)
list price: $23.98 -- our price: $20.99
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Editorial Review

Since the original Broadway cast recording of Stephen Sondheim's Follies was a truncated affair that turned out to be both a disappointment and a disservice to a brilliant show with a brilliant cast, this 1985 concert performance from New York's Avery Fisher Hall set out to record the whole score, a set of pastiches of old songs and songwriters as performed by a cast of faded stars and the visions of their younger selves. The result was a star-studded roster backed by the New York Philharmonic led by Paul Gemignani, with principals Barbara Cook, Mandy Patinkin, Lee Remick, and George Hearn, supported by the likes of Carol Burnett, Liliane Montevecchi, and Liz Callaway. Even these stars can't quite match the original cast, and the results are somewhat uneven--from Cook's yearning "Losing My Mind" to Patinkin's you-love-it-or-you-hate-it schizophrenia in "Buddy's Blues." Other highlights include Elaine Stritch's wry "Broadway Baby," the two young couples' interplay in "You're Gonna Love Tomorrow/Love Will See Us Through," and the electrifying audience reactions to "Beautiful Girls" and "Who's That Woman?"(A documentary video was released, but unfortunately, it did not contain the complete show.) As a bonus, this two-CD set includes 45 minutes of instrumental music Sondheim composed for the 1974 French film Stavisky, including two melodies that had been cut from the original production of Follies.--David Horiuchi ... Read more

Features

• Cast Recording
• Live

Reviews (19)

A Good recording.
The original is my perferred version, even though it is very watered down. Here, all the songs are complete, but it comes out uneven somehow. The really great performers here are Carol Burnett and Barbra Cook. They really shine. The rest do mediocre performances. Out of the rest, Lee Remick, and Elaine Strich do a great job. Buy this you want the "complete" version and four stellar performances, but the original is the one to get performance wise.

FOLLIES - the best recording ...so far
If any one album makes a case for FOLLIES is is this set of FOLLIES IN CONCERT. It is not the definitive FOLLIES, but about as close as we're likely to get. The sound is very VERY good, especially for a live recording, but as such there is quite a bit of applause on this disc.

Producer Thomas Shephard originally taped the dress rehearsal so he would have quiet endings for all the numbers but when the audience nearly tore the roof off Avery Fisher Hall, he decided that eliminating applause would negate the event that led to the album. So, he comprmised and used applause after the "follies" numbers but not after plot songs. If you didn't know this you might wonder why "Beautiful Gilrs' gets such a huge hand and the next song "don't Look at me" seems to be met with stoney silence.

The cast is sensational. Perhaps not in the same league as the originals but a fine "revival" cast. Lee Remick and Barbara Cook are ideal as leading ladies Phyllis and Sally and its a joy to hear Cook's glorious voice in "Losing My Mind." Mandy Patinkin effectively uses his energy to put a new spin on "Buddy's Blues. "I know some object to his over-the-top style but it was effective on stage. Elaine Stritch has fun singing "Broadway Baby" and Carol Burnet makes the most of "I'm Still Here." Really, there isn't one bad track in the whole package.

Completists may quibble with the slight cuts here and there..the last bit of the Overture (including a segment of "Can That Boy Foxtrot") has been cut, as has "Bolero D'amour."The original montage ending of "Rain on the Roof/Ahh Paris/Broadway Baby" was dumped, and the spoken interludes in "Loveland" have been re-arranged.NONE of this will impair your enjoyment of this wonderful show.

As a bonus RCA has filled out the second CD with the soundtrack of Sondheim's score for STAVISKY. Many cut songs from FOLLIES were used in this film score, so its a natural tie-in.

The booklet has all the lyrics but no synopsis to place the songs within the context of the story. It is a minor flaw in an otherwise first rate package.

My Favorite Follies
This is, in my opinion, the best recording of Follies you can buy. The quality of the recording isn't the best for reasons of staging and the lack of wireless mics back then, but who cares? Take a look at the list of famous singers in this cast. A big plus of this recording is the complete overature that wasn't on original. Barbra Cook is absolutely wonderful. Her voice doesn't age! I like the fact that they raised the key of a few of Sally's songs for Barbra since Sally is supposed to be the soprano of the two female leads anyway. Babra sings every single song with feeling and vocal perfection. I feel that her rendition of Losing My Mind is the definitive version of that song. Her final, "you said you loved me," is gorgeous and really shows the pain that Sally is feeling in her dramatically perfect interpreation of the song.

Lee Remick is wonderful as Phyllis. She has the icy beauty that really makes her song, Story of Lucy and Jessie really make sense. Her version of Could I Leave You? Is great! She is just really great.

George Hearn is absolutely wonderful! He sings every song like a god and it's nice to hear him sing something other then Sweeney Todd, which he tended to scream a lot in. I adore his voice and think he is perfect for the character of Ben.

Mandy Patinkin is so annoying. He emphasizes things that aren't supposed to be emphasized and he's just ridiculous in all of his songs. His voice isn't the problem, it's his high voltage, uneccasary dramtization that turns me off.

The supporting cast is wonderful. One More Kiss sounds so much better when it's sung by Opera singers, and these two are amazing. I mean look at their names and you'll go, Oh my god! Elaine Strich's interpreatation of Broadway Baby is very different for she truly sees the true irony of the song and portrays it very well. Everyone else is wonderful also. This CD is a must buy! ... Read more

Asin: B000002WB6
Subjects:  1. Film    2. Music Theater    3. Pop    4. Showtunes / B'way   

Pacific Overtures (1976 Original Broadway Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $16.98 -- our price: $14.99
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Editorial Review

Pacific Overtures is one of Stephen Sondheim's most rewarding but least-appreciated works.Part of the reason is it's been one of the least-staged Sondheim shows due to its unusual requirements: following the conventions of the Japanese Noh play, it uses an all-Asian, all-male cast, and authentic instruments such as the shamisen.As a slice of history, John Weidman's book is fascinating:In 1853, Japan's borders were closed to all foreigners until the arrival of American Commodore Matthew Perry forced the opening of trade relations.Sondheim's score captures the delicacy of Japanese verse ("Poems"), a blackly humorous scene of the emperor's refusal to acknowledge the American ships ("Chrysanthemum Tea"), Gilbert & Sullivan-esque patter ("Please Hello"), and the most beautiful song ever written about prostitution (the lyric men's trio "Pretty Lady").Worthy of special mention is the song Sondheim has often claimed as his best ever, "Someone in a Tree," which describes the crucial meeting in the treaty house from the perspective of different characters on the outside.Over a quarter century after its 1976 Broadway debut, Pacific Overtures began to enjoy increased attention from theater companies, culminating in a Broadway revival in 2004. --David Horiuchi ... Read more

Features

• Cast Recording

Reviews (16)

Only Sondheim...
can take a style of music that i was not particulary interested in and make into a great score that i am addicted to."Please Hello", and "Someone in a tree" are great Numbers. "Next" is a number that sends the audience to the present of Japan.For anyone who loves Sondheim, This score is a must have.

Sondheim & Prince's offering for the U.S. Bicentennial
1976 - America was celebrating two hundred years of idependence.Tv, radio, records and movies were all things patriotic.This was the way things were when the musical PACIFIC OVERTURES arrived at Broadway's Winter Garden theatre. A musical that took a critical look at how the U.S. forced Japan into international trade in 1842... what were they thinking?

It didn't look like a Broadway musical.It sure didn't sound like Broadway music.The critics were mixed..a few loved it, several loathed it...but most admitted they didn't quite know what to make of it.Audiences went to see A CHORUS LINE (which would win the 1976 Tony award) and CHICAGO.PACIFIC OVERTURES was gone after 193 performances.The great experiment failed.

Or had it?

RCA did a cast album.Sales were slow at first but it eventually became one of their biggest sellers allowing more people a chance to hear this wonderful score.Regional theatres began exploring the possibility of doing the show. An off-Broadway revival in 1984 was critically lauded.A new production is planned for New York for 2005.It may never be as big as hit as LEZ MIZ, but for those looking for something different and exciting, PACIFIC OVERTURES will do very nicely.

I don't want to give away all the many details of the score: that would rob you of the thrill of discovering so much on your own. But a few "hints": Sondheim has long considered "Someone in a Tree" to be one of his favourite numbers;"Please Hello" is brilliant in weaving together musical styles for the U.S.; England; Holland; Russia & France as each country enters to set up trade with Japan. "Chrysanthemum Tea" has brilliant lyrics (including the lines "If the tea the Shogun drank will serve to keep the Shogun tranquil...")Notice too how the score becomes more "americanized" as it proceeds all the way to the finale "Next."

RCA has included a libretto and detailed synopsis.It will take a few serious listens (following along with the libretto) to begin to penetrate this work. Then, once you have fallen in love with it seek out the English National Opera's complete recording on Jay/TER which has the whole show, dialogue and music. It's not as well sung and acted as this original cast disc.

NOT MY FAVORITE
Not my favorite Sondheim show, but it's still worth a listen.However, if you for some crazy reason don't have Assassins yet get that instead. ... Read more

Asin: B000002W6P
Subjects:  1. Music Theater    2. Musicals    3. Pop    4. Show Tunes    5. Showtunes / B'way   

Sweeney Todd, the Demon Barber of Fleet Street (1979 Original Broadway Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $24.98
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Editorial Review

Despite being known for her televised sleuthing these days, Angela Lansbury once managed to both spook and delight Broadway audiences as the maker of very particular delicacies in Victorian London. In this macabre extravaganza, Lansbury's Nellie Lovett is the accomplice of Len Cariou's Sweeney Todd: The Demon Barber of Fleet Street. After he slashes his victims, she turns them into her meat pies' main ingredient. For this most ghoulish of shows, Sondheim looked for inspiration in the way the music is used in horror and suspense movies, particularly in the soundtracks of Bernard Herrmann. The winner of nine Tony Awards in 1979, Sweeney Todd may not be Sondheim's most accessible score, but its operatic complexity (it is almost entirely sung-through) makes it darkly spellbinding. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording

Reviews (79)

Odd,Like Sondheim's Work Is,But Excellent
I recently rented this CD at my local library. Being a fan of Assassins and having a person I know play the title character, I loved it! It was a little odd, but hey, what do you expect with Mr. Sondheim?

GREAT SWEENEY!!!
When I firstr saw this musical it was being done by a local theatre group; you know, community theatre.I thought it was the weirdest show I had ever seen, what with all the slashing and cannibalism, but I loved it and walked away with it permanetly emmbedded in my mind.When I saw it offered for sale I promtly purchased it and have fallen in love with it all over again.George Hearn is probably the finest actor on Broadway.His execution (no pun intended) of Sweeney is flawless.Hearn does not overact, but delivers his lines naturally, deviating only during his fits of maddness.His rich baritone voice only adds to the cleverness of Sondheim's musical score.Angela Landsbury is the only actress who can play the crazed Mrs. Lovett and creates very big shoes for other actresses to fill when they take their turn at this role.Though this production was shot with 1985 technology, the sound is rich and the color exceptional.GET IT!

Sweeney Todd : A Tale Worth Attending
Let me start out by saying, this musical is not for everyone.It is at times macabre, and darkly humored, and then touching, and thought provoking.You would do yourself a favor to buy this CD, but please, keep that in mind.

"Sweeney Todd" is the story of a barber who seeks vengence on those who sent him to prison on a trumped up charge, raped his wife, and ultimatly ruined his life.Once in London, returning from prison, he goes on a killing spree, slaughtering customers in his Barber shop, assited by his landlady, Mrs. Lovett, who then turns the corpses into meat pies.

The leads are suitable for their roles, especially Angela Lansbury as Mrs. Lovett.Len Cariou's Sweeney is also choice.

The Musicals only flaw is one evident in most of Sondheims works; A completely brilliant first act, followed by a somewhat lackluster second act.But, that aside, this is a cd not to be missed.

A few of the best tracks (in my oppinion)...

1.Prelude

2. Epiphany

3. A Little Priest

4. The Worst Pies in London

5. The Contest

... Read more

Asin: B000002W4L
Subjects:  1. Cast Recordings    2. Music Theater    3. Musicals    4. Pop    5. Show Tunes    6. Showtunes / B'way    7. Soundtrack   

Marry Me A Little (1981 Original Off-Broadway Cast)
Average Customer Review:
Audio CD (20 February, 1990)
list price: $16.98 -- our price: $16.98
(price subject to change: see help)
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Features

• Cast Recording

Reviews (9)

Well..
The songs are hard to find, but the recording is mediocre. These people are not the greatest vocal talents in the world, and ocassionally they come off harsh. Then there is the piano. Some of these songs are quite energetic, and the piano does not do them justice. It is really quite boring sometimes. There are some high points though. "The Girls of Summer", "Bang", "Saturday Night", and the title song. Buy it you are a Sondheim completeist, or a fan who likes the obscure Sondheim, rather than "Send in the Clowns".

Sparkles with Sondheim!
One of the greatest Sondheim musicals of all time! I recommend this to any lover of the great Stephen Sondheim.
A never-ending track list of his greatest, rare numbers with a gentle, soothing and lulling piano accompianent. Although some here have complained about only the piano, I believe it makes the album even better than some of his others. You can actually enjoy the rhapsody of a piano and a singer without the overpowering orchestra in musicals like SWEENEY TODD. Sometimes a piano and a singer make things all the more beautiful.
With two of my favorite songs, "There Won't Be Trumpets" and "Marry Me a Little", this album has some songs you've heard on other Sondheim albums, like SATURDAY NIGHT and ANYONE CAN WHISTLE, this is a compilation of his earlier numbers with a romantic plot of a loving couple who seems to last forever... but, like many, face the ups and downs of love. Ending with a touching rhapsody, "Who Could Be Blue?", MARRY ME A LITTLE is one of Sondheim's finest masterpieces. Your collection will not be complete without this piece of genius.

Charming Early Sondheim
Judging by previous reviewers, this seems to be a very under-appreciated CD. Yes, the piano accompaniment can be a little off-putting at first (especially in the more densely harmonic songs like "Silly People"), this CD is still worth buying for the beauty of these songs. So Craig Lucas isn't a top-notch singer/actor. His voice is certainly pleasant enough, and I love his "Uptown/Downtown" and "Happily Ever After." Suzanne Henry is also more than acceptable, shining on "So Many People" and "Can That Boy Fox-Trot."

After a person listens to this CD, he'll probably want to see the show. And isn't that the ultimate goal of all cast albums? ... Read more

Asin: B000002WB7
Sales Rank: 10522
Subjects:  1. Musicals    2. Pop    3. Show Tunes    4. Showtunes / B'way    5. Soundtrack   

Sunday in the Park with George (1984 Original Broadway Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $16.98
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Editorial Review

After Merrily We Roll Along's devastating flop in 1981, Stephen Sondheim thought about abandoning the theater. He wrote one of his most beloved shows instead, Sunday in the Park with George. Sondheim and his new collaborator, librettist/director James Lapine, used George Seurat's painting "A Sunday Afternoon on the Island of La Grande Jatte" as a way to tackle the issue of artistic creation itself. Both Mandy Patinkin and Bernadette Peters play two different parts with brio, jumping across decades with ease, and they get to deliver some of Sondheim's most heartwrenching songs--"Color and Light," "Finishing the Hat," "Putting It Together," and "Children and Art." Sunday in the Park with George is one of the most intellectually ambitious musicals to ever hit Broadway--and one of the most emotionally rewarding. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording

Reviews (57)

Powerful Stuff.
This Musical made a powerful impact on me. After listening to it the 1st time I asked myself "What in the world is this jumble of musically incomprehensible rubbish?", but I decided to patiently wait a few days and give it a 2nd try before discarding it.

WISE DECISION.
What at first seemed a forgettable lineup of tunesimmediately proved itself familiar upon the 2nd hearing.
What at first appeared a pretenious libretto turned out to be a story chalk full of humor, wisdom, and great sadness.

Just listen to the French horns entranceon track 1, and the indelible grandeur and beauty of this work will quickly become apparent. The initial reference to a white canvas, which sets the stage for the sad story to come, also ends the musical, with a hopeful message of a future full of possibilities. That's an appealing message to me.

To sum up, a very rich musical landscape (not your average tune-o-rama) along with absolutely superb performances earns this my highest recommendation. You won't easily tire of this recording. In fact, the more I listen, the more I like.

Enjoy.

Amazing new orchestral and structural direction for Sondheim
Sunday In The Park With George is Stephen Sondheim's Pulitzer Prize winner.Is it his very best work?No.Is it amazing?Yes, warts and all.After getting badly wounded by 1980's Merrily We Roll Along (a neglected masterpiece, in my opinion, at least for the music) and after almost leaving musical theater altogether, Sondheim put pen to paper to create one of the most *personal* and original scores in any genre or era.His "pointalistic" style of writing perfectly compliments and in fact "describes" Seurat's style of painting.The orchestration is crystal clear and filled with Seurat's colors, and is well-served by the then-new digital sound technology.And for a composer often accused of being cold and aloof, Sondheim here finally poured out his soul and revealed his insecurities.

Patinkin and Peters are wonderful in what most non-singers would not realize are very demanding roles (especially for Peters, who actually injured her voice singing this role off Broadway while also singing an Andrew Lloyd Webber revue on Broadway).The supporting cast is also excellent.But the real "star" of the show is the show, or the idea of it.Never before has such an innately non-musical idea been so well-adapted as a musical.Never have such abstract and frankly intellectual concepts made it to a mass medium so well.Imagine if this work started out life as a book instead.I could just hear the critics saying it was "unadaptable" to the stage or screen.Sondheim and Lapine deserve kudos for that, for they handle realism, surrealism, fantasy, and an almost sci-fi-ish laser sequence with equal aplomb, blending styles and genres much better than many heralded 1990's movie directors with their over-hyped hybrid films.

So what are the weak spots?A few of the songs are, to me, not quite up to Sondheim's extraordinarily high standards.Though many laud "We Do Not Belong Together" for its emotionalism, to me it sounds dangerously talky and "heart-on-sleeve"--unusual for Sondheim.The same with Bernadette's second song in the same vein, "Move On." ("Stop worrying if your vision is new/Let others make that decision, they usually do.You keep moving on."--For Sondheim, this is kind of straightforward and square, devoid of the usual layers of irony and insight we expect from him.It almost sounds like he's having a therapy session in front of his audience.)Some of the direction, too, is a little awkward and stilted, if you see the video of the production.There's a certain artificiality and stiffness up on that stage that makes it feel like a high school play in spots.Of course, this issue does not mar the CD.

The recording is first class.The booklet is frustrating, though.It is so thick it barely fits into the skinny CD case, and in fact the little plastic teeth that are supposed to hold it in place wind up tearing the back cover after repeated slidings in and out.Mine's at the point where the last few pages are about to be shredded.

This was Sondheim's last great musical, excepting possibly his latest, "Bounce," which I haven't seen or heard.Into The Woods was a pleasant evening and had a great Act I, but it didn't come together well in the end and had a rather pedestrian message.Assassins was a fascinating experiment, like Pacific Overtures, but I feel it fell flat, though I understand a recent revival smoothed out many of the problems.And I don't even want to go near Passions, which should have been called Obsessions and which was relentlessly and unnecessarily dark in my opinion, despite some beautifully emotional music.(I can't believe Barbra Steisand has never recorded "Loving You.")While Sondheim may have faded in the 90s and beyond, he's still THE voice of American musical theater, and an achievement such as the present disc helps you understand why.

The most beautiful Score. Ever.
This is Sondheim's masterpiece, in my opinion. Sweeney Todd is usually hailed as his masterpiece, and i can understand that. It appeals to a wider range of people. But this is for a select audience. It has a very intelectual message, and a score to match. But you do not have to be an intelectual to understand it and enjoy itIt just takes many listens to let it asorb you. Notice the "dots" of music. But this is not a boring score, quite the contrary. Notice how fast the music and lyrics move. One problem with this recording. The quiet moments are too quiet. They should have been mastered at a higher volume. This quickly becomes a nuisance, because you find yourself turning the volume up, and then down at the loud parts. This is very prevelent in the number "It's Hot Up Here". Still this is a great recording, and deserves the five stars. Also, this is the perfect companion to the Dvd, so check that out too. ... Read more

Asin: B000002W7F
Subjects:  1. Music Theater    2. Pop    3. Show Tunes    4. Showtunes / B'way   

Into the Woods (1987 Original Broadway Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $13.98
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Editorial Review

As conceived by Stephen Sondheim and cocreator James Lapine (following their Pulitzer Prize-winning Sunday in the Park with George), Into the Woods tells the intricate tale of multiple fairy-tale characters crossing paths in the woods, not merely resolving the characters' dilemmas but also exploring what happens after happily ever after. Sondheim's chamber-scale music, recipient of the 1987 Tony for Best Score, is one of his most beautiful and accessible, and is at its most poignant in "No More," "No One Is Alone," and "Children Will Listen." The original Broadway cast is outstanding top to bottom, most notably Bernadette Peters as a rapping witch and Joanna Gleason, who won a Tony for Best Actress. The CD booklet includes production photos and--so important for a Sondheim show--full lyrics. Fortunately, this cast was also captured on video and DVD. --David Horiuchi ... Read more

Features

• Cast Recording

Reviews (98)

See Soundheim live when you can
Small theatre groups are doing fine productions of his work.
The storyline is clever and imaginative.The songs are sentimental as well as sly.Great mix for an evening of fun
and fanciful explorations.Shout out to the Shawano, WI theatre
for their great production in "the box".

And Happily Ever After! (?)
This is a great musical, as I saw the original with Bernadette Peters and have acted in it. The plot is incredible (where does Sondheim get these ideas?) and the music is surpasses some of the most revered scores shown on Broadway (I won't say which ones or else I will get unecessary hate mail). Great singers are Joanna Gleason as the Baker's wife (Moments in the Woods), and of course, Peter's rendition of the Witch (Last Midnight). The music cuts out a lot of dialouge, but that's only more motivation to go see the play! Or buy the DVD, whatever floats your boat.

Sondheim at His Best
It's safe to say that INTO THE WOODS will go down as one of Broadway's classics.People have analyzed this show and applied it to so many areas of life, including the AIDS epidemic and 9/11.What this proves is the timeless quality of Sondheim and Lapine's musical that incorporates classic fairy tale characters into a story that teaches life lessons for all ages.

The voices on this recording are truly phenomenal.Bernadette Peters is often referred to as the last true Broadway actress as the Great White Way moves toward more Pop Musicals (WICKED, BROOKLYN, AVENUE Q, HAIRSPRAY), and it's true.She delivers a truly stunning performance.

Joanna Gleason deserved the Tony Award she received for her portrayal of The Baker's Wife.On the video recording of this production, she only confirms this.

Chip Zien is a perfect Baker, capturing the true meekness that the character calls for.

Having performed in two productions of this musical, I can say that I have the utmost respect for these actors and their talents.They are truly terrific.

I've listened to the 2002 recording and greatly prefer 1987.I'm sure I'm biased having grown up with the '87, but it is a great buy.

Also, the video recording for the musical is a great buy if you enjoy this CD.And a fun fact: This cast of INTO THE WOODS features cast members from Sondheim and Lapine's 1984 SUNDAY IN THE PARK WITH GEORGE.Common cast members include: Bernadette Peters, Barbara Bryne (Jack's mother), Robert Westenberg (Cinderella's Prince)

This touching musical is extremely clever and meticulous in that Stephen Sondheim way.Definitely a great buy! ... Read more

Asin: B000002WAB
Subjects:  1. Musicals    2. Pop    3. Show Tunes    4. Showtunes / B'way    5. Soundtrack   

Stephen Sondheim's Passion (Original Broadway Cast)
Director: James Lapine
Average Customer Review:
VHS Tape (23 September, 1997)
list price: $19.98
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Editorial Review

Based on the Italian movie Passione d'amore, Stephen Sondheim's Passion is a story of obsessive love.Giorgio (Jere Shea), a soldier, and Clara (Marin Mazzie), a woman with a husband and child, are deeply in love, but their idyllic happiness is disrupted when Giorgio is transferred to another post. Here he meets Signora Fosca (Donna Murphy), a homely and ill woman who is the cousin of the regiment's commanding officer. Fosca soon falls in love with Giorgio and pursues him relentlessly, saying "Loving you is not a choice / It's who I am." He is repulsed and resists her advances, but eventually he succumbs to the power of her love.

Rather than a succession of individual songs strung together by dialogue, Stephen Sondheim's score is a constant flow of gorgeous music. (The original theater program listed no individual songs.) The plot is conveyed by song, some dialogue, letters between the characters, and a group of soldiers that serves as a Greek chorus. The result is more of a chamber opera than a conventional musical. Passion won Tonys for Best Musical, Best Score, and Best Book of 1994.

This video is a stage production filmed for American Playhouse with all of the original Broadway principals, though not before a live audience. To suit television audiences, the producers weakened the opening love scene by removing the nudity of the stage version; instead Mazzie awkwardly tries to keep herself wrapped in sheets as she sings to Giorgio of her bliss. Murphy gives a powerful, Tony-winning performance as Fosca, Mazzie is in glorious voice as Clara, and Shea brings a pretty voice, a pretty face, and a wooden personality to Giorgio. --David Horiuchi ... Read more

Features

• Color
• NTSC

Reviews (40)

How Can Anyone Not Like This Show?
First, I must say that comparing Sondheim shows to each other is ridiculous.Would you tell a plumber that you liked his sink installation in one house more than in another?Each piece is completely different and should be judged on its own merits.

Passion explores the themes of love and beauty from a darker perspective than we are accustomed.The performances are quite good--particularly Donna Murphy's portrayal of Fosca.With the DVD, you get a chance to get closer to Fosca and experience the emotions with her.Ms. Murphy is able to find beauty in desperation.She convincingly takes her character on the immense journey from self-loathing to the belief that she is worthy of love.Her portrayal is nothing short of astonishing.

Marin Mazie looks and sounds lovely, and Jere Shea seems to start out a little wooden (although he is paying a soldier and wooden is a desirable trait in soldiers) but has some beautiful and heartfelt moments at the end of the show.

If you are a fan of Sondheim, love stories, or excellent acting, this CD is well worth the price.I guarantee that you will think about the show long after it has ended--and that's the mark of good writing.

Sondheim's Worst!
Normally, I love Stephen Sondheim's work. I consider Company, Follies, Night Music, Sunday in the Park, Pacific Overtures, Into the Woods, Sweeney Todd, and even the much derided shows Anyone Can Whistle and Bounce. But this one is...BAD. Yes, I just criticised Stephen Sondheim. I literally could not finish the show. The story is weak, the script sounds like it was done by Andrew Lloyd Weber (from me, that's as low a blow as you can get) and the lyrics, usually Sondheim's showcase, are clumsy and ineffective. The whole show has a breathy, affected air which ruins any pretense of true passion. The only good thing about the show is the logo.

Back at Last (and not a minute to soon)
For a long time, both the original Broadway cast recording and the taped version of Sondheim's chamber opera masterpiece, "Passion", were out of print. I wore out my VHS copy sometime in the late 1990s. I have an original print of the CD. I've heard stories that copies of the CD went on eBay for upwards of $100. Now, within the span of a year, the CD was rereleased, and the film was transferred onto a fantastic DVD, which all Sondheimite's should own.

"Passion" tells a devestating story: Giorgio (Jere Shea), an Italian soldier in the mid 1800s, is transferred from Milan to a small provincial town, leaving behind his married lover, Clara (Marin Mazzie). When he reaches the town, he meets Fosca (the absolutely unbelievable Donna Murphy, in the best musical theatre performance of the latter half of the 20th century), the sickly and ugly cousin of his superior (Gregg Edelmann). She falls instantly in love with him, but he wants only to be friends. His heart belongs to Clara, who will never leave her husband. What follows is one of the most beautiful scores in recent memory, and Sondheim's most accomplished score to date.

Mr. Shea is terrific as Giorgio, and Ms. Mazzie knocks it out of the ballpark as Clara. In smaller roles, Mr. Edelmann, Tom Aldredge, and Linda Balgord also shine.

On October 20, 2004, at the Ambassador Theatre in NYC, "Passion" was reproduced for one night only. Ms. Murphy and Ms. Mazzie reprised their roles, and the excellent Michael Cerveris, who starred in the Kennedy Center production in 2002, played Giorgio. It was magical. Let's start lobbying today for a recording of this performance! ... Read more

Asin: 156442796X
Subjects:  1. Musical