Original Off-Broadway Cast (PS Classics, 2011) (3 / 5) Bernard Shaw’s plays do not easily adapt into musicals; My Fair Lady took Lerner and Loewe two tries, and only worked when they opened up the action beyond Shaw’s scenes. The opposite approach is taken in A Minister’s Wife, based on Shaw’s Candida (1897). Composer Joshua Schmidt, lyricist Jan Levy Tranen, and librettist Austin Pendleton, following a concept of director Michael Halberstam, concentrated rather than expanded the narrative. They jettisoned a key character (Candida’s crude father) and focused on the domestic triangle of fiery minister James Morell (Marc Kudisch); his lovely wife, Candida (Kate Fry); and Eugene Marchbanks (Bobby Steggert), a young poet whom Morell has rescued from the streets. Liz Baltes as Morell’s secretary, Prossy, and Drew Gehling as his earnest curate, Lexy, complete the outstanding cast. Kudisch’s opening number, “Sermon,” conveys the basic tenets of Christian Socialism, but an unsettling dissonance in the music hints that while Morell claims “we must learn to live for each other,” perhaps he needs to listen to his own words. Steggert is terrific as Marchbanks: his poet is frail, self-pitying, whiny, and yet confident in his passion, especially in “Shallops and Scrubbing Brushes” and the “Second Preaching Match.” Fry gets the benefit of the most melodious parts of Schmidt’s score, yet she wallops both men in the blunt “Spoiled From the Cradle.” Kudisch’s minister progresses from poised to angry to fearful as his inner flaws are revealed. The whole piece is wrapped up in the gorgeous “Into the Night,” as the cast ponders the future. Tranen’s lyrics are Shavian to the core, with many lifted directly from the play; Schimidt’s orchestrations for a chamber orchestra do a good job of advancing the subtext, with Laura Bontrager’s cello and Pasquale Laurino’s violin especially exquisite. Like Schmidt’s Adding Machine, this is an unusual, challenging show. One could wish for more distinct songs, rather than so many extended scenes set to music. But A Minister’s Wife is a small gem in itself. — Laura Frankos
Film Soundtrack, 1989 (Disney) (4 / 5) After a decades-long dry spell, Disney film animation finally sprang to life again with The Little Mermaid, a musical adaptation of the children’s story by Hans Christian Andersen. Thanks in large part to its fantastic score by Little Shop of Horrors team Howard Ashman and Alan Menken, Mermaid single-handedly revived the animated musical. And in its main character, Ariel — a mermaid daughter of King Triton, desperate to join the human world — the film also birthed the first really spunky and smart Disney princess. As Disney has progressed to even more feminist stories and even stronger princesses, certain elements of The Little Mermaids’s plot have come under scrutiny, but the score has stood the test of time. Ashman and Menken created a charmingly magical work; Menken’s music ranges from funky calypso (“Under the Sea”) to sassy Broadway (“Poor Unfortunate Souls”), with Ashman bringing his usual touch of unpretentious intelligence to the lyrics. And the vocal cast of the film is still definitive. Best known to musical theater fans for her powerhouse vocals in Crazy For You and Smile, Jodi Benson here produces a purer, smoother, more intimate sound that allows “Part of Your World,” Ariel’s finely crafted “I Want” song, to deeply resonate with the listener. Pat Carroll, Samuel E. Wright, and René Auberjonois are wonderful in other roles, and the score is smartly but not overly lushly orchestrated by Thomas Pasatieri. — Matt Koplik
Original Broadway Cast, 2008 (Disney) (1 / 5) Howard Ashman sadly died at the height of his career, and he never saw any of his work with Alan Menken make it to Broadway. The legacy he left behind may be relatively small, but it is substantial in quality and much beloved. When Disney brought Beauty and the Beast to the stage with financially successful results, it was only a matter of time before The Little Mermaid, the movie that started it all, would make the transition as well. Unfortunately, in this case, Disney should have left well enough alone. With Ashman gone, Glenn Slater was brought in to contribute lyrics for new songs to expand the score for a full-length stage musical, and while he managed to come up with a few good fish puns, none of his work here matches the heart and inventiveness of Ashman’s work. Menken wrote some lovely melodies for the additional songs, though some of them are recycled from incidental music heard in the movie. The cast — Sierra Boggess, Sean Palmer, Sherie Rene Scott, Tituss Burgess, Norm Lewis, et al. — is talented and, in a few cases, vocally superior to their film counterparts, but most tend to go for vocal tricks, making the majority of the score sound over-sung. While Danny Troob’s orchestrations add the necessary flashes of Broadway brass to the Menken-Ashman material without going overboard, they don’t bring as much flair to the Broadway additions. Even though this recording has more songs and offers vocal flair from some Broadway favorites, you’re better off sticking to the movie soundtrack. — M.K.
Original Broadway Cast, 2005 (Nonesuch) (5 / 5) The Light in the Piazza seemed to re-open the door for lush scores and musicals of honest sentiment of the type not seen since Rodgers and Hammerstein, at a time when modern musical theater writers were for the most part shying away from works of pure romance. Based on Elizabeth Spencer’s novel of the same title, the musical tells of Margaret Johnson, a Southern socialite, who takes her adult daughter, Clara, on vacation to Florence, Italy in the 1950s — only to have a local young man and Clara fall in love, despite Clara’s stunted mental maturity due to an accident in her childhood. For his Broadway debut, Adam Guettel wrote an overwhelmingly romantic score, rich in musical complexity and tender in its poetically precise lyrics, a fair percentage of which are in Italian in order to properly dramatize the native characters. Guettel uses the language and cultural barriers between the Johnsons and the Italians to his advantage by employing a musical language that is distinctly modern in structure, yet traditionally sweeping in sound. (Guettel and Ted Sperling are responsible for the fluid orchestrations.) Piazza is moving in its beauty, whether in its more intimate moments (“Dividing Day,” “The Beauty Is”) or its grander songs (“Il Mondo Era Vuoto,” “Say It Somehow”). The cast is exceptional, with Kelli O’Hara and Matthew Morrison providing touching, lovely performances as the two young lovers. But it’s Victoria Clark as Margaret who defines the album. Her delivery of the final song, “Fable,” in which Margaret prepares to finally let Clara go, would be reason enough to own this recording. The Light in the Piazza is a masterwork given a definitive presentation on the cast album — Matt Koplik
Original Broadway Cast, 2009 (Rhino) (3 / 5) Winner of 2010 Tony Awards for Best Musical, Book, Original Score, and Orchestrations, Memphis charts an enjoyable journey through the pioneering days of rock ‘n’ roll, when rhythm and blues morphed into a new musical genre mixing black and white influences and exciting young, integrated audiences. Set in the 1950s, when racial segregation was still the norm in much of America, the energetic musical’s plot centers around a Memphis-based, white DJ, Huey Calhoun (Chad Kimball), who is enamored of and daringly promotes African-American music. He soon falls in love with a black female singer (Montego Glover) and jump-starts her rise to stardom. Joe DiPietro’s serviceable book frames an invigorating score, with music by Bon Jovi’s David Bryan and lyrics by Bryan and DiPietro. The songs recall iconic rock performers, sounds (guitar riffs, doo-wop harmonizing, soulful blues), and hits of the period; at least three numbers sound remarkably like “Jailhouse Rock.” Yet these references are packaged within a score that’s structured Broadway-style, featuring dramatic solos enhanced by solid ensemble singing, colorful orchestrations, wordy (sometimes overly so) lyrics, and infectious dance breaks. The cast album highlights come at the beginning and the end. The opening jump blues number, “Underground,” is followed by the searing ballad “The Music of My Soul,” and these songs let us know we’re in for a rebellious ride through rough racial terrain, while the catchy “Everybody Wants to Be Black on a Saturday Night” gets us gleefully on board. Heightening the show’s bittersweet climax, when the lovers part, “Memphis Lives in Me” salutes Huey’s hometown and all it represents emotionally, culturally, and musically. The upbeat finale, “Steal Your Rock ‘n’ Roll,” exemplifies the score’s accessible if unimaginative blend of pop appeal, Broadway pizzazz, and early rock sensibilities. Throughout, Kimball sings Huey’s songs with scratchy grit and raw expressiveness; his superb acting contributed immeasurably to the musical’s success on Broadway. As Felicia, the singer who captures Huey’s heart, Glover offers dramatically nuanced versions of the showpieces “Colored Woman” and “Love Will Stand When All Else Fails.” — Lisa Jo Sagolla
Original London Cast, 2015 (First Night) (3 / 5) Five years after it opened on Broadway, Memphis played for a year on London’s West End. Though one can detect slight differences in the arrangements, orchestrations, and tempi of several songs, the only significant dissimilarities between the Broadway and London cast albums lie in the singing of the lead performers. As Huey, a character loosely inspired by the trailblazing, Memphis-based, white DJ Dewey Phillips (who championed black music), Killian Donnelly offers smoother, prettier, more technically polished singing than Chad Kimball in his renditions of the heartfelt “The Music of My Soul” and “Memphis Lives in Me,” as well as the wild “Crazy Little Huey.” Beverley Knight sings Felicia’s songs with greater authority than Montego Glover, perhaps too much authority for the vulnerable character. Overall, the Broadway album proves more effective as theater music; there’s more variety among the vocal qualities of the cast members, so their characters come through with greater distinction. “She’s My Sister,” a heated duet between Huey and Felicia’s brother, generates less tension on the London album and is harder to follow because the performers’ voices don’t contrast as forcefully as do those of their Broadway counterparts. But whereas the Broadway album offers a superfluous bonus track of Memphis composer/co-lyricist David Bryan singing “The Music of My Soul” over his own too-loud piano accompaniment, the London recording’s bonus is an impressive performance by Bryan of “Memphis Lives in Me.” — L.J.S.
Original London Cast, 2013 (RSC) (5 / 5) This recording reflects the Royal Shakespeare Company’s world premiere production of the musical Matilda, based on Roald Dahl’s book about a precocious, five-year-old British girl. A rather dark, cerebral show that also happens to be wickedly funny, charming, and moving, Matilda is in some ways the antidote to Annie; whereas the redheaded orphan patiently waited for the sun to come out tomorrow, Matilda fights to change her life and the bad deck of cards she has been dealt, including a moronic family that doesn’t care about her and a fearsome headmistress who hates children in general. For his first musical theater work, Australian comedian Tim Minchin has written a stellar score, one with playfully odd melodies and deliciously smart lyrics that fit the wonderfully twisted world of Dahl perfectly. There’s much fun to be had in “Naughty,” “Telly,” and other songs; and when Matilda shows its heart, it thankfully doesn’t wear it on its sleeve like so many children-centered shows. Songs such as “Quiet” and “My House” are simple and understated (a rarity in modern musical theater), allowing the actors to live in them and explore their dramatic potential. Christopher Nightingale’s orchestrations are by turns playful (“Miracle”), funky (“Revolting Children”), and beautiful (“I’m Here”). The cast of this recording is wonderful, with three young performers covering different tracks of Matilda (because they rotated in the role on stage). Special praise goes to Bertie Carvel, who plays the headmistress, Miss Trunchbull. Avoiding camp, Carvel instead performs like a dry, British piranha, making the character’s evilness funny yet still menacing. Perhaps the greatest song on this album is “When I Grow Up, ” by far the most uplifting number in the score: “When I grow up / I will be brave enough to fight the creatures / That you have to fight beneath the bed / Each night to be a grown up.” It reveals that, for all its cleverness and mischief, Matilda is at its core an optimistic show. — Matt Koplik
Original Broadway Cast, 2013 (Yellow Sound Label/Broadway Records) (3 / 5) Here we have a rare situation: a London cast album is actually preferable to the recording of the Broadway incarnation. While all of the new performers are as talented as their predecessors, and much is the same in terms of material (there is more dialogue included on the OBC recording, and there are some minor lyric changes), something is slightly off here. In trying to “Broadway-ize” the piece, Matilda’s creators made the show a difficult listening experience. Perhaps the biggest problem is/are the new orchestrations by Christopher Nightingale; brassy and brash, they frequently overpower the singers (even on the recording), making it hard to understand Minchin’s brilliant lyrics. Perhaps to compete with the orchestra, the performances of this cast are broader, less smart, and less human than those of the British company. Even Carvel, repeating his role of Miss Trunchball, seems less funny and more fidgety than before. On the bright side, Lauren Ward as Miss Honey, also returning from the London production, is just as touching and perhaps even stronger vocally than on the previous recording. She is the sole caring adult character, and the beating heart of the show. All of the Matildas here (four of them, as opposed to the British three) are smart actresses and talented singers. Thankfully, for their tracks, Nightingale chose to remain faithful to his original orchestrations. — M.K.
Studio Cast, 2013 (Cherrytree/A&M) (4 / 5) Rock icon Sting introduced most of the songs that would fuel his Broadway musical The Last Ship in this eponymous, 12-track concept album, released a year before the show premiered. (A deluxe version featured five additional songs, while a super-deluxe edition comprising 20 tracks was made available exclusively through Amazon.) The first recording of original music that Sting had released in a decade, The Last Ship proffers heartfelt, Celtic-flavored songs inspired by his youth in a shipyard town in northern England. The 16-time Grammy-winning singer-songwriter appealingly intermingles pop, rock, jazz, and world music — and, in this outing, draws particularly from Northumbrian folk forms and Latin dance rhythms. While each song is musically enchanting, Sting performs them all himself, lending a lulling sameness to the recording’s vocal palette; the deluxe editions fare better in this regard, as they involve additional singers and a wider array of accompanying instruments. Fans of Sting the rocker will thrill to the deluxe version’s addition of “Jock the Singing Welder,” a raw, rockabilly tune that didn’t make it into the Broadway musical. But it’s Sting the balladeer who shines brightest in the original 12 tracks. He persuasively captures the righteousness of an angry young man relating the tale of “Dead Man’s Boots,” and his renditions of the poignant “I Love Her But She Loves Someone Else” and “Practical Arrangement” (which also didn’t make it to Broadway) are especially piercing. “Show Some Respect” sounds like it came straight out of The Threepenny Opera, and the stirring title song and “What Have We Got?” seem promising fodder for Broadway production numbers. However, it’s the entertaining qualities of the lively waltz-time ditty “The Night the Pugilist Learned How to Dance” that most blatantly marks this recording as an album of Broadway-bound material. — Lisa Jo Sagolla
Original Broadway Cast, 2014 (Universal) (5 / 5) Featuring wonderfully earthy, Celtic-inflected music and lyrics by Sting, The Last Ship is marred only by John Logan and Brian Yorkey’s unimaginative book, its parable-like plot and melodramatic ending providing clichéd framing for the touching songs. The show explores a working-class community’s struggles upon the closing of the shipyard that provided not only its financial lifeline, but also its people’s sense of self-worth. The central character, Gideon, had left town years earlier; he comes home to discover he has a son, reigniting deep-seated conflicts concerning father-son relationships, romantic love, and self-fulfillment. Pulling three songs from his career as a solo musician, Sting’s score is more theatrically successful than one might expect from a pop artist. The title tune’s swaying, triple-meter pulse recalls the rocking of a ship on ocean waves with anthem-like grandeur. “Shipyard” mixes Gilbert & Sullivan-esque verses with raucous, Irish dance music, conveying battles between old rules and new revolutionary fervor. Enriched immeasurably by Rob Mathes’s music direction, orchestrations, and arrangements, the Broadway cast album proves more entertaining than the concept recording, which was performed largely by Sting. The haunting “August Winds” sits better in the voice of Rachel Tucker (who plays Gideon’s love interest, Meg), making her hopeful version of it easier on the ears than Sting’s mournful one. As Gideon’s competitor for Meg’s love, Aaron Lazar sings the memorable “What Say You, Meg?” with a silkiness preferable to Sting’s rawer sound. Every track on the album is winning, none more so than “If You Ever See Me Talking to a Sailor.” A range-y showpiece with character-revealing lyrics set to sexy ethnic rhythms, it exemplifies Sting’s achievement in crafting a well-functioning musical theater score out of songs so specifically rooted in his personal experience. — L.J.S.
Studio Cast, 1999 (Nonesuch) (4 / 5) Composer-lyricist Adam Guettel’s song cycle Saturn Returns had a brief run at The Public Theater but never got an original cast album. Myths and Hymns comes pretty close, as this recording contains most of the show’s songs (which include additional lyrics by Ellen Fitzhugh) and features the original cast joined by three more wonderful performers: Billy Porter, Audra McDonald, and the dulcet-toned composer himself. The album delivers what the title promises, offering Guettel’s unique perspectives on Greek myths, musical settings of obscure hymnal lyrics, and original hymns. Most of the mythic songs are humorous, modern psychological deconstructions of such legends as the one about Icarus, while the hymns capture both the optimism and anguish of spiritual belief; listen to Porter’s fiery “Awaiting You” for the best example of the latter. One of the most striking pieces concerns an abortion. The style of composition varies greatly, from the funky electronics of “Icarus” to the joyful gospel sound of “There’s a Shout,” the angular “Children of the Heavenly King,” and the soaring “Migratory V.” “Hero and Leander” is a ravishing romantic ballad, and even more compelling is “Saturn Returns,” a musical monologue in which the composer laments: “I don’t know what I hunger for, I only know I feel the hunger more and more with every passing day.” — Brooke Pierce
Original Cast, 1986 (Polydor/Varèse Sarabande/Verve) (3 / 5) Composer-lyricist-Iibrettist Rupert Holmes folded a tribute to the English music hall into his adaptation of Charles Dickens’ unfinished novel The Mystery of Edwin Drood, and he came up with an intriguing musical whodunit. The original cast, as preserved here, is exemplary; it includes the great George Rose and the one-of-a-kind Cleo Laine, along with heavy-hitting Broadway pros Howard McGillin, Patti Cohenour, Judy Kuhn, Donna Murphy, and belter extraordinaire Betty Buckley in the title role. “The Wages of Sin” is a specialty number delivered stylishly by Laine, and the haunting “Moonfall” is beautifully rendered by Cohenour. Other standouts are the boisterous opening number, “There You Are”; the breathless “Both Sides of the Coin”; the exciting “Don’t Quit While You’re Ahead”; and the finale, “The Writing on the Wall.” This show’s peculiar distinction is that it allowed audiences to vote on three different plot conclusions. The two CD editions of the cast recording offer varying material in regard to those choices, and the Varèse reinstates “Ceylon” and the “Moonfall” quartet, which are not on the Polydor disc. But all of the tracks are available in mp3 format. — Matthew Murray
Original Broadway Cast, 1983 (Atlantic) (3 / 5) This “new” musical was written around old George and Ira Gershwin songs. During its troubled pre-Broadway tryout, book writer Peter Stone and the uncredited Mike Nichols oversaw an extensive reworking of the show, with star Tommy Tune taking over as director. They surprised everybody by pulling it off; by the time My One and Only reached New York, it was delightful. The cast album is not a fully accurate representation of the production, which was much more fluid than this recording suggests, with witty dance numbers popping up from the ensemble as well as the stars. (This is the show in which Twiggy and Tommy Tune tap-danced in water during “S Wonderful.”) Several songs have been left off the album, including the chorus number “Just Another Rhumba.” A more serious omission is dancer Honi Coles’ big first-act showcase, “High Hat” — a skillful weave of dialogue, singing, and dance that was inexplicably replaced on the recording by a straightforward version of “Sweet and Lowdown.” On the other hand, Twiggy and Tune are heard duetting in “Little Jazz Bird,” even though that number was cut from the show. Throughout, the stars are charming, and the music and lyrics incomparable. A partial list of highlights: “I Can’t Be Bothered Now,” “Boy Wanted,” “Soon,” “He Loves and She Loves,” “How Long Has This Been Going On?” and, of course, the fabulous title song. — David Wolf
Original Off-Broadway Cast, 2003 (PS Classics) (3 / 5) With a book and lyrics by Richard Nelson, who also directed the show, My Life With Albertine has a powerful and distinctive score; composer Ricky Ian Gordon’s work here, ranging from near-operatic arias to comic songs, bursts with musical invention and is given a wonderful French flavor by Bruce Coughlin’s tasty orchestrations. The top-notch cast is led by Kelli O’Hara and Brent Carver. O’Hara is particularly impressive, displaying great dramatic and musical range — and she gets most of the best material. Carver’s numbers are more varied in quality, but his layered performance makes even his odder songs seem natural for his character. Although Chad Kimball doesn’t quite reach his co-stars’ level of achievement, the overqualified members of the ensemble — including Emily Skinner, Donna Lynne Champlin, and Brooke Sunny Moriber — sound pretty much perfect throughout. — Matthew Murray