All posts by Michael Portantiere

Waitress

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Waitress conceptSara Bareilles:  What’s Inside: Songs from Waitress, 2015 (Epic)  4 out of 5 stars (4 / 5) The idea of Sara Bareilles writing a musical wasn’t so far-out, even before it happened. The 21st century has seen several musical theater scores written by popular singer/songwriters (Kinky Boots, The Last Ship, 9 to 5), and with her insightful lyrics and inventive, pop/soul colored music, Bareilles seemed a natural fit for the modern musical stage. But, gifted as many of these writers are, few have been able to successfully translate their talent to Broadway, so it’s refreshing that Bareilles has done as well as she has in this respect.  What’s Inside is not a cast recording, but more of a concept album that previews Bareilles’ score for Waitress — a musical based on the 2007 film of the same title, about a diner waitress and pie maker extraordinaire named Jenna who’s trying to escape an unhappy marriage, only to discover that she’s pregnant. Though the plot is a bit of a downer, the film used dry humor and charming performances to create more of a grounded, intimate comedy. Bareilles’ songs match the tone of the film and dig deep into the characters, from the deceptively peppy “Opening Up” to the ethereal, dreamlike “Soft Place to Land” to the heartbreaking “She Used to Be Mine.” All of the tracks on this album are sung by Bareilles (with guest vocals by Jason Mraz), and it’s charming to hear her shift from Jenna to other characters throughout. What’s Inside: Songs from Waitress is both a fun showcase for her as a singer/songwriter and a great introduction to her first musical. — Matt Koplik

Waitress BroadwayOriginal Broadway Cast, 2016 (DMI Soundtracks) 3 out of 5 stars (3 / 5) This recording preserves the score for Waitress as presented on Broadway, with a fair amount of dialogue included on the album, vocal arrangements beefed up, and seven new songs added (“Door Number Three” has been revised to become “What Baking Can Do”). It all feels a little overstuffed. Part of what made Waitress work so well on screen were the grounded performances and the simple, almost quaint way in which the film presented itself as a story of everyday people dealing with everyday situations. By comparison, the Broadway production and this recording are much broader and flashier, and the material suffers because of it; many songs are overwhelmed by the arrangements or lose their emotional potency due to performances that lean more towards caricature than humanity. Also, some of the additional songs — for example “It Only Takes a Taste” and “I Love You Like a Table” — are not as strong as those Bareilles first presented on the concept album. On a positive note, the cast is made up of stellar singers. They bring to the score a Broadway shine that makes the album easily listenable, even if it’s not the best style for the piece. The best thing about the recording is Jessie Mueller in the central role of Jenna. Her voice is essentially as sweet and smooth as Bareilles’, yet versatile enough to delve deep into dark emotional territory and bring aching power to “She Used to Be Mine.” In addition, Mueller is a smart actress who offers the most realistic performance to be heard here. Every time she’s front and center, she wipes away the glossiness that coats the rest of the album, and she brings back the score’s heartbeat. — M.K.

Dear Evan Hansen

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DEHOriginal Broadway Cast, 2017 (Atlantic ) 4 out of 5 stars (4 / 5) A musical that unapologetically wears its heart on its sleeve, Dear Evan Hansen is the most high profile theater work to date from the songwriting team of Benj Pasek and Justin Paul. Set in a nondescript modern suburb, the show centers around a high school introvert with intense anxiety issues who finds himself involved in a misunderstanding which, partly due to the double-edged sword of social media and its galvanizing impact, snowballs into a giant lie that does both good and harm. Though the character of Evan is a little too broadly painted in his neuroses, and the show’s commentary on the effect of social media in modern culture doesn’t go quite as deep as it should, Pasek and Paul’s score is memorable and compelling, managing to wax poetic without being too on-the-nose in its imagery. Ben Platt, in the title role, does the majority of the vocal heavy lifting here, delivering a fully rounded and thrilling performance. It helps that he’s given the best songs in the score: the show’s biggest hit, “Waving Through a Window,” as well as the crushing “Words Fail” and the lovely if slightly heavy-handed “For Forever.” Platt is well supported by Rachel Bay Jones as Evan’s endearing, struggling, single mother; and Laura Dreyfuss, refreshingly understated as Zoe, the object of Evan’s affections, who may be harmed most by Evan’s lie. The cast album includes minimal dialogue, opting instead to present each song as a stand-alone item. While this doesn’t harm the flow of the recording, and has helped a few of the songs to break out as popular hits, two songs suffer from such treatment: “Good For You,” a cathartic release of Evan’s mom’s pent-up frustration, here plateaus in its anger, with no release; and the offbeat humor of “Sincerely Me” comes across as somewhat tasteless out of context. That said, the rest of the album works very well. Alex Lacamoire’s orchestrations (with additional work by Christopher Jahnke) are appropriately pop-oriented, and Justin Paul’s vocal arrangements never go overboard with vocal pyrotechnics. The restraint in their work separates DEH from many other contemporary scores, allowing the emotional weight of the piece to really resonate with the listener. And there are plenty of emotions here to resonate. — Matt Koplik

Motion Picture Soundtrack, 2021 (Interscope) 3 out of 5 stars (3 / 5) While the Broadway stage production of Dear Evan Hansen received critical acclaim, the movie version was met largely with controversy and derision. Director Stephen Chbosky stated that the main reason the project went forward was to “preserve” Ben Platt’s performance as Evan, leading some to label the movie as nothing more than a vanity project. Listening to this soundtrack, one may feel that some artistic decisions were made to showcase Platt rather than to best adapt the musical for the motion picture medium. For example, several Benj Pasek-Justin Paul songs from the show that didn’t include Evan have been cut, and while few listeners will miss “To Break In A Glove,” the excision of other characters’ songs has sanded down the piece’s cynical edge, making the moral ambiguity of the plot and its view of Evan’s duplicity more unappealing. All of that said, the soundtrack is still a pleasant listening experience. No matter the consensus on Platt’s performance on screen, his singing voice is exceptional, and he has an even greater control of his instrument here than on the Broadway recording. The enlarged arrangements and orchestrations  — typical of movie adaptations of stage musicals — are fun, if not as dramatically compelling as the restrained originals. The supporting cast is strong, though largely wasted, with not much material to showcase their talents. Kaitlyn Dever makes a particularly effective Zoe, and Julianne Moore shows a surprisingly sweet singing voice in “So Big/So Small,” even if it she sometimes sounds overly auto-tuned. Two new songs were added for the movie, the more notable of them being “The Anonymous Ones.” Given to the character Ilana, played by Amandla Stenberg, the song was co-written by Stenberg with Pasek and Paul, and it aims to provide more of an inner-life for a character who was mostly a plot device in the stage show. Compared to other songs that have been added to past movie versions of stage musicals, this one is more satisfying and well-rounded, even if it’s not quite up to the quality level of the rest of the score. — M.K.

Pretty Filthy

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Pretty-Filthy-editOriginal Off-Broadway Cast, 2016 (Ghostlight) 3 out of 5 stars (3 / 5) Here’s a musical comedy about the porn industry, created by the New York-based theater company The Civilians, with music and lyrics by Michael Friedman (Bloody Bloody Andrew Jackson, Fortress of Solitude, Love’s Labours Lost) and a book by Bess Wohl.  One of the best things about the show is its title, which strikes just the right tone of light humor and sweet naughtiness that’s skillfully maintained almost throughout the proceedings, despite the fact that so much of the content is, indeed, pretty filthy. Song titles include “Waiting for Wood,” “Fuck The World,” and “Squirting 101,” and here’s a sample lyric from the opening number: “Most girls give blowjobs to guys they barely know at college parties.” Although the controversial “Parental Advisory: Explicit Lyrics” label is not affixed to this recording, it applies in spades — but honestly,  why would anyone who decides to purchase the cast album of a show about “adult entertainment” expect anything else? Some of the melodies Friedman created for this unusual project are very tuneful, but a salient feature of the show — some would say its main problem — is that many of the quotes of the porn actors, directors, and producers seem to have been set to music practically verbatim, with only a little modification and a few rhymes and repetitions thrown in to make them more lyric-like. As a result, significant stretches of the score sound prosaic, and often there’s a sense of too many words having been crammed into each measure of music. Still, there’s a lot of illicit, edgy fun to be had here, thanks in no small part to the perfectly gauged performances of a talented cast: John Behlmann as “Fredo/Jimmy Wood,” Lulu Fall as “Dana,” Alyse Alan Louis as “Becky/Taylor,”  Luba Mason as “Georgina Congress,” Maria-Christina Oliveras as “Carrie/Holly Donovan,” Steve Rosen as “Sam Speigel/Jeff/Oscar Gerhard,” Marrick Smith as “Bobby/Dick,” and Jared Zirilli as “Nick Harding.” — Michael Portantiere

Cagney

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cagneyOriginal Off-Broadway Cast, 2016 (Broadway Records) 2 out of 5 stars (2 / 5) First seen at the York Theatre Company’s home at St. Peter’s Church and then in a commercial run at the Westside Theatre, this show was a crowd pleaser largely for Joshua Bergasse’s exciting, tap-heavy choreography, which obviously cannot be experienced via the cast album. But the recording is still worth hearing for the enjoyable score by Robert Creighton and Christopher McGovern, and for Creighton’s dynamic performance in the title role: James Cagney (1899-1986), who started as a song and dance man in vaudeville and went on to huge fame for his tough-guy roles in such movies as The Public Enemy, Angels With Dirty Faces, and White Heat. Another major character  in the show is studio mogul Jack L. Warner (Bruce Sabath), who in the opening number, “Black and White,” boasts of taking “a shrimp with pride from the Lower East Side” and turning him into “the greatest tough-guy the silver screen ever saw.” Indeed, the contentious relationship between Cagney and Warner provides much of the show’s dramatic energy, and one of its best sequences deals with the mid-career triumph Cagney achieved when he played legendary songwriter/performer George M. Cohan in the Warner Bros. biopic Yankee Doodle Dandy. Highlights of the Creighton/McGovern score include the charming “Falling in Love,” in which Cagney and his future wife (played by Ellen Zolezzi) find it difficult to say the “L” word, and Cagney’s introspective second-act solos, “How Will I Be Remembered?” and “Tough Guy.” Also included are two Cohan songs that were featured in Yankee Doodle Dandy: “Grand Old Flag,” for the Act I finale, and the title song, for the epilogue. The recording would have benefited from a larger orchestra (only five players here), but it’s entertaining for the stronger moments of the score and the performances of Creighton and the rest of the cast, which also includes Jeremy Benton, Danette Holden, and Josh Walden in multiple roles.  — Michael Portantiere

The Story of My Life

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storyOriginal Broadway Cast, 2009 (PS Classics) 3 out of 5 stars (3 / 5) The Story of My Life is an intimate, unusual, two-character musical with songs by Neil Bartram and book by Brian Hill. The strengths of the cast album lie in two talented performers, a score that’s lovely, evocative, and emotional, and the show’s highly original premise about friendship and the art of creative writing. Yet that very premise also shackles the piece, for the audience isn’t sufficiently exposed to other aspects of the lives of the characters, creating distracting questions that are never fully answered. Thomas Weaver (Will Chase), a successful author, returns to his hometown to write the eulogy for his one-time best friend, Alvin Kelby (Malcolm Gets). Alvin appears in Thomas’s mind, taking him back to when a thoughtful first grade teacher brought them together (“Mrs. Remington”). The score soars in its early numbers, charting how the pair bond over a shared love of books (Alvin’s dad owns a bookstore) and the film It’s a Wonderful Life. Bartram displays a solid grasp of childhood perspective, and Chase and Gets — even as only heard on this recording — magically transform themselves into schoolboys, exchanging gifts and creating traditions. (Check out the way Chase’s voice cracks in “1876.”) When the boys hit adolescence, it hits back; Thomas rightly worries that Alvin’s “odd” behavior, including an obsession with his dead mother’s bathrobe, might not go over well in high school (“Normal”). Bartram and Hill subtly reveal the differences that will later fracture this friendship, but the show doesn’t work as well once the men reach adulthood. Thomas attends college, writes bestsellers, and gets engaged, while Alvin apparently has no existence beyond the bookstore. Thomas increasingly edits his friend out of his life, culminating in the shocking “Independence Day” — and then he develops writer’s block. He has rejected Alvin, so now his muse has abandoned him. Here’s where the questions start — not the one concerning Alvin’s death, which Bartram and Hill rightly keep a mystery, as it leads to Thomas’s catharsis. But what about Thomas’s fiancée, Ann? Unlike the brief but fully realized portraits of Mrs. Remington and Alvin’s parents, she’s a cipher. And are we supposed to accept that everything Thomas has written has derived from his experiences with Alvin? In the hands of less talented performers, this slight framework might crumble, but Chase keeps Thomas attractive even when he’s being a jerk, and Gets’s Alvin skillfully morphs from neurotic kid to crushed soul to the ghost whose nagging gets his friend back on track. — Laura Frankos

Giant

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giantOriginal Off-Broadway Cast, 2013 (Ghostlight) 4 out of 5 stars (4 / 5) Texas is big. Edna Ferber’s 1952 novel, Giant, is big, spanning decades and two generations of rancher families. The 1956 movie version is big, with spurting oils wells and thundering cattle herds (plus a stunning young Liz Taylor and a sultry James Dean). How to translate something so gigantic to the stage? By going big with the score. Giant may not be Michael John LaChiusa’s most important musical, but it’s his most melodic, alternately sweeping and introspective. This recording is jam-packed with 26 songs from the three-hour show: Mexican folk songs, country hoedowns, ballads of hope and regret, swing, and early rock. (LaChiusa subtly mirrors changing musical tastes as the story moves from 1925 to 1952.) Linking the various parts of the whole is the anthem “Heartbreak Country,” for at its heart, Giant is the tale of that land — the Reata Ranch — and how it changed through the years, affecting everyone connected with it. At the center is the owner, Bick Benedict (the wonderful Brian D’Arcy James), who, like his older sister Luz (Michele Pawk), loves Reata and is always aware of his obligation to “take care of the land.” Yet, instead of marrying the daughter of a neighboring ranch owner, he weds an educated Virginian, Leslie (Kate Baldwin). LaChiusa chronicles their relationship in nine telling numbers. “Your Texas” is about Leslie’s dreams during their courtship, including a kind of frontier utopia. The lilting “Did Spring Come To Texas?” reveals Bick’s joy at their wedding. Things don’t always run smoothly, not with Luz’s interference and sexy mechanic Jett (PJ Griffith) hanging around; but there is genuine love here, and Bick and Lesie try repeatedly to work out their differences (“Heartbreak Country,” “Topsy Turvy”). A major issue is the treatment of the Mexicans who work the ranch, once Mexican property (“Aurelia Dolores”). The racism appalls Leslie, and her views are shared by the couple’s bookish son, Jordy (Bobby Steggart), who loves Juana (Natalie Cortez). Things reach a crisis in the climactic “The Desert,” a musical sequence (with dialogue by librettist Sybille Pearson) that’s a mini-play in itself.  Others — there are nearly a dozen significant characters — play their roles in this changing Texas. Griffith works hard to distance himself from Dean’s iconic portrayal; his rock growl helps. Pawk’s Luz is perhaps overly villainous in “No Time For Surprises,” but fares better in her duets with Bick. John Dossett and Katie Thompson each get strong solos as Bick’s uncle and the girl Bick jilted for Leslie. The younger generation — Steggert,  Cortez, Miguel Cervantes, and Mackenzie Mauzy — have their own chances to shine as well, notably in the bouncy “Jump” and the tender “There Is A Child.” This is a rich, vibrant score, loaded with emotion and power. — Laura Frankos

Dogfight

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dogfightOriginal Off-Broadway Cast, 2013 (Ghostlight) 3 out of 5 stars (3 / 5) Many musical scores can stand perfectly well as cast recordings, separate from their staged productions. Others lose something when deprived of the character and plot development revealed in the shows’ libretti. For all its virtues, Dogfight — songs by Benj Pasek and Justin Paul, book by Peter Duchan — falls within the latter group. Based on the 1991 film, it’s the story of some Marines tearing up San Francisco in late 1963, the night before they ship out to Vietnam. They plan a “dogfight,”  a contest in which each jarhead contributes fifty bucks to a kitty that will be won by the guy who brings the ugliest date to the party.  A nasty game, indeed — and the boys, including lead Eddie Birdlace (Derek Klena), appear as insensitive, hot-blooded louts. Fresh out of boot camp and convinced that they’re invincible, their pickup lines in the song “Hey, Good-Lookin'” are lies and braggadocio. Eddie finds a waitress, Rose (the sweet-voiced Lindsay Mendez), and pressures her to “Come to a Party” while privately exulting over his chances of winning the dogfight. Rose, for her part, is thrilled to be going out with a boy; in “Nothing Short of Wonderful,” she dithers over what to wear in staccato phrases, sounding like a mashup of Cinderella and the Baker’s Wife from Into The Woods. (The opening vamp of the title song also echoes that Sondheim show.) Clearly, this evening will not go well for Rose. But, sometime between the invitation and the party, Eddie has a change of heart that isn’t part of the score, although it’s described in the recording notes. The libretto shows us how Eddie grows to like Rose as they walk to the party, but none of that is in the score; on the album, he jumps from acting like a complete cad to trying unsuccessfully to take Rose home before the judging, in order to save her the embarrassment. Similarly, the recording doesn’t include Eddie’s later apology or indicate how the relationship progresses. Still, there’s much to appreciate here. Pasek and Paul know how to craft effective theater songs with nuance and layers. A few of the lyrics are a little too facile in telegraphing emotions or a sense of time and place, but most are very well written. The music ranges from early-sixties pop to Rose’s folk songs and powerful, revealing character numbers. “Come to a Party” works on multiple levels as variously sung by the callous Marines, the naive Rose, or Marcy, a knowing prostitute (played with sledgehammer bluntness by Annaleigh Ashford). The boys’ cockiness is evident as they take the town in “Some Kinda Time” and plan their big homecoming in “Hometown Hero’s Ticker Tape Parade.” Reality shatters their hopes, and Eddie’s devastating “Come Back” portrays what the war has done to him. But Rose is the real star here, and her journey comes through best in the score. She’s alternately shy and manic at first, then furious at the “Dogfight,” and soul-searching in “Pretty Funny.” The show’s emotional crux is found in her song “Before It’s Over,” when she realizes she has somehow benefited from the dreadful experience. As noted above, Eddie’s character growth isn’t charted as well in the songs, but this is still a solid score that tells a compelling story. — Laura Frankos

The Scottsboro Boys

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scottsboro-originalOriginal Off-Broadway Cast, 2010 (JAY) 5 out of 5 stars (5 / 5) In several of their shows, John Kander and Fred Ebb have used various types of entertainment as the contextual setting for exploring historical and social issues. In Cabaret, sleazy nightclub routines parallel the excesses of Weimar Germany and the rise of Nazism; Chicago‘s vaudeville acts reveal the corrupt justice system of the Roaring Twenties. In The Scottsboro Boys, the tragic story of nine young African Americans who were unjustly accused of raping two white women in 1931 is told in the form of a minstrel show. The result is a searing, brilliant work with depth, power, and guts. Kander says they chose the format for the opportunities it provided: an ensemble, led by an Interlocutor (John Cullum), telling stories, jokes and songs. Mr. Bones and Mr. Tambo (the versatile Colman Domingo and Forrest McClendon) assist by playing multiple characters (“White men’s our speciality”). Needless to say, the minstrel show itself is a stark reminder of racism, reinforcing social injustice with every number. In the rousing opener, the lead among the accused men, Haywood Patterson (the impressive Brandon Victor Dixon), asks “This time, can we tell it like it really happened?” The Interlocutor benignly replies, “Of course.” Haywood’s resolve to tell the truth provides the score with a constant refrain, from his first defense (the Bert Williams style “Nothin'”) to the comic fable “Make Friends With the Truth” to “Zat So?” His defiant cry “You Can’t Do Me” sets up the boys’ refusal of the Interlocutor’s call for a cakewalk and a “happy ending,” subverting the minstrel show. The fates of the real-life Scottsboro Boys were anything but happy, but the final scene places their case in the broader context to the civil rights movement, giving a glimpse of a better future. The score also contains one of Kander & Ebb’s finest songs, the poignant “Go Back Home,” with a beautiful, wistful melody that reoccurs throughout the underscoring. (A bonus track has Kander performing the number.) Throughout the recording, Cullum shines as the unctuous Interlocutor, his genially racist attitude clear in “It’s Gonna Take Time” (cut from the subsequent Broadway production) and “Southern Days.” The Interlocutor misses Mammy’s ribs and mint juleps, but conveniently forgets the lynchings and cross-burnings. Domingo and McClendon’s talents are also evident throughout, especially when they assume the guises of the Attorney General and lawyer Samuel Liebowitz in savagely satirical numbers revealing Southern anti-Semitism and patronizing New York showmanship. (“Just ask my chauffeur, Rufus!”) Here was no easy subject, but this musical may be Kander and Ebb’s most important work; three years after the show opened, the Scottsboro boys were granted a posthumous pardon. — Laura Frankos

scottsboro-londonLondon Cast, 2014 (JAY) 4 out of 5 stars (4 / 5) This cast album bears a close similarity to the 2010 version. Three of the principals crossed the Atlantic to appear in the London production of The Scottsboro Boys: Brandon Victor Dixon as Haywood Patterson, Colman Domingo as Mr. Bones, and Forrest McClendon as Mr. Tambo. Dixon may even be better here, displaying heightened exuberance in “Commencing in Chattanooga” and enormous inner strength in “You Can’t Do Me.” The ensemble numbers sound more polished, and there are some lyric changes, notably in “Make Friends With the Truth.” There’s also a bit of additional dialogue, with more details about the fate of these young men. The Interlocutor’s solo, “It’s Gonna Take Time,” was cut from the Broadway production and is absent here, but the exit music is included. Like the earlier recording, there’ a bonus track of “Go Back Home,” here performed by Dixon. A key difference between the two albums is the Interlocutor, played nastily here by Julian Glover. Where John Cullum was  generally sly, Glover is more commanding, sending chills as he insists, “Shake those tambourines!” When he describes himself as “the master of these folks” in the opener, the listener can’t help thinking he means more than just master of ceremonies. Does a collector need both recordings? Probably not. But those considering staging the show may want the London one, which is closer to the licensed version. — L.F.

Shrek

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shrekOriginal Broadway Cast, 2010 (Verve) 3 out of 5 stars (3 / 5) Not to be outdone by Disney, the Dreamworks company decided to come to Broadway with a musical adaptation of its Oscar winning animated film Shrek, about an everyman ogre trying to maintain his peace of mind while wading through numerous fairy tales — some of which aren’t quite so magical. While the original Broadway production proved to be wildly over-produced and too loyal to the film in terms of its design and book, the cast recording reveals that, at its core, Shrek has considerable charm and a solid score aided by Danny Troob’s healthily full orchestrations. It’s not a surprise that composer Jeanine Tesori brought a mixture of earnestness and funky independence to the piece, but it is a surprise that first-time lyricist David Lindsay-Abaire crafted such well-structured and genuinely witty lyrics. The score boasts a fair number of highlights, such as “I Know It’s Today” and “When Words Fail,” though some songs try too hard for off-kilter humor  — for example, “Story of My Life” and “What’s Up, Duloc?” In the title role, Brian d’Arcy James had to balance his own musical theater instincts with the burden of recreating a highly beloved film character; for the most part, he succeeded, especially in the touching “Who I’d Be.” Sadly, the talented Daniel Breaker was not given as much artistic freedom in the role of Shrek’s best friend Donkey, and instead offers an Eddie Murphy impression through much of this cast album. More successful principal players include Sutton Foster as not-your-average-princess Fiona, going toe to toe with James in the childishly gleeful “I Think I Got You Beat,” and Christopher Sieber as the hyper-sinister, height-challenged villain Lord Farquad. In their score, Tesori and Abaire gave Shrek a mischievous soul that was sadly lost among the giant scenery of the original production. Luckily, it’s captured here. — Matt Koplik

Curtains

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curtainsOriginal Broadway Cast, 2007 (Manhattan Records) 2 out of 5 stars (2 / 5) Part backstage satire and part whodunit, Curtains was a long-gestating property. At the time of its opening, the show was touted as having the last original score by the legendary team of lyricist Fred Ebb, who died in 2004, and composer John Kander. (Whatever the order of composition, it turned out that the team’s adventurously rewarding The Scottsboro Boys and The Visit both premiered in later years.) Peter Stone, who died in 2003, is credited with the original book and concept of Curtains; Rupert Holmes, who already had “whodunit” experience with Drood, came in to help restructure the book and to work with Kander on writing  some additional lyrics. The result is a modestly entertaining piece, but it doesn’t have quite enough bite to succeed as satire or enough intrigue to succeed as a murder mystery. Centered on a Broadway-bound musical that’s experiencing out-of-town woes, Curtains opens with the mysterious murder of the show’s lame leading lady (a hilarious Patty Goble). The cast and production team are up in arms trying to figure out who the culprit is while simultaneously attempting to improve their show so it won’t meet the same deadly fate at the hands of the New York critics. At the center of it all is theater-crazed detective Lieutenant Frank Cioffi, played with boyish charm by David Hyde Pierce. The star is supported by a strong cast including Debra Monk as the show-within-the-show’s gruff producer; Edward Hibbert as the catty director; and Karen Ziemba and Jason Danieley as the songwriting team, once married but now divorced. The cast works their magic — especially entertaining is Monk’s delivery of her character’s hard-as-nails mantra, “It’s a Business” — but the material is rarely up to the intelligence or melodic zeal of previous Kander and Ebb scores. The always reliable William David Brohn provides orchestrations that practically come with their own pair of jazz hands, but they aren’t able to elevate Kander’s music beyond the level of stylishly presentable. Although Curtains is a pleasant diversion from the darker K&E works, it will not likely stay with you for long. — Matt Koplik

Yank!

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yankOriginal Off-Broadway Cast, 2014 (PS Classics) 4 out of 5 stars (4 / 5) Musical theater fans look back with affection at the Off-Broadway shows of the early- to mid-sixties — small, unique productions whose distinctive scores guaranteed them long life on record, if not on the boards. (The Fantasticks, of course, is a major exception in the length-of-run tally.) Today, there are still examples of terrific, innovative musicals getting their start Off-Broadway or Off-Off-Broadway, and thankfully, many of them are being recorded. In the case of Yank!, a Kickstarter campaign helped raise funds to preserve the performances of nearly the entire company of the show’s 2010 York Theatre production. (Two of the cast members had scheduling conflicts.) Yank! is the creation of brothers David Zellnick (book and lyrics) and Joseph Zellnick (music), a wholly original work inspired by the precarious situation of gays and lesbians who had to remain closeted while serving in the armed forces during World War II. It centers on Stu (the amazing Bobby Steggart) and his love for Mitch (Ivan Hernandez), yet somehow the Zellnicks convey that their story reflects that of the thousands of others like them who served with honor. The storytelling is tight and focused, making good use of Stu’s wartime journal, discovered at the start of the show by a young man in the present day (also played by Steggart). This device offers a link between our time and the past while also allowing us to hear Stu’s private thoughts. The clever title number introduces the squad — the expected melting pot of ethnicities — and lets us see and hear Stu’s reaction to each of his comrades. The music effectively recreates the 1940s sound, especially in the diegetic numbers presented as songs heard on the radio; the fact that the legendary Jonathan Tunick was enlisted to rework the show’s original orchestrations for this recording doesn’t hurt. Nancy Anderson, the sole woman in the cast, is a musical chameleon. She plays four different vocalists, each with her own nuanced style, as well as Louise, a blunt lesbian secretary interviewed by Stu for Yank magazine. Jeffry Denman shines in the standout “Click,” reassuring Stu that “there are more of us than you imagined” and demonstrating (in dance) the signals and codes of gay social relations. The guys in Charlie Company are red-blooded American males; they indulge in lots of bullying and pranks, and they’re constantly thinking and talking about women, as in an ode to pin-up girls, “Betty.” But, in the end, the story is Stu’s, and Steggart owns the role. The quaver in his voice reveals Stu’s terror during basic training, his need to fit in, and his concerns about his sexuality. His longing for Mitch is natural and convincing; “Just True,” in which the two men dream of a future together, may well reduce the listener to tears. The album concludes movingly with Steggart, again as the young man who found the journal, pondering Stu’s fate, followed by a brief reprise of the key ballad, “Rememb’ring You.” — Laura Frankos

Death Takes a Holiday

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deathOriginal Off-Broadway Cast, 2011 (PS Classics) 2 out of 5 stars (2 / 5) On paper, Death Takes a Holiday probably looked like a wonderful idea for a musical. Composer-lyricist Maury Yeston has done some very admirable work, and audiences have long been intrigued with the story told here — based on a play by Alberto Casella that has received several adaptations, most famously as a 1934 film that starred Fredric March. So what went wrong? After the success of Titanic, Yeston and librettist Peter Stone chose to create an intimate musical inspired by Casella’s tale of a weekend during which Death puts aside his scythe and falls for a mortal girl. (Thomas Meehan joined the project after Stone’s death.) As it turned out, the plot was the first stumbling block for the adapters; the list of successful fantasy musicals is a short one, and the concept here is a whopper to swallow. Still, a strong opening number can get an audience to accept darn near anything — but Yeston disappoints with “In the Middle of Your Life/Nothing Happened.” Instead of being made to understand what it is about Grazia (Jill Paice) that causes Death (Kevin Earley) to stay his hand when she’s thrown from a car, we’re wincing at the bare exposition of the  lyrics: “What is that darkness I see ahead?” “We’re going into a spin!” Also wince-inducing is the line, “Nothing can go wrong for her.” (Did they really sing that? Yup.) Nor do we buy it when Death, impersonating a Russian prince,  tells Grazia’s father (Michael Siberry) of his desire for a vacation. Earley, who took over the role during preview performances when Julian Ovenden developed vocal problems, has a terrific voice, but its timbre isn’t well suited to the the Grim Reaper’s darker musical moments. He’s more effective in the lighter “Alive!” discovering the joys of breakfast, and in the romantic numbers with Paice, a solid Grazia. Oddly, the score’s best songs center on an unseen character: Grazia’s dead brother, Roberto. Major Fenton (Matt Cavenaugh) sees something in Prince Sirki’s eyes that eerily remind him of “Roberto’s Eyes” when his friend was shot down; and Rebecca Luker, as the mother, tells Sirki what death does to a family in the devastating “Losing Roberto.” The former conveys terror far better than characters intoning “Death is in the house!” and the latter lets Sirki truly know the pain he inflicts with each fatality, effectively leading to Earley’s heartfelt big number, “I Thought That I Could Live.” Would that the rest of the score matched the quality of these songs. Yeston’s melodies are lovely, with a nice Continental air (aside from a shimmy designed to get the cast dancing), but it’s hard to get past the often clunky lyrics. — Laura Frankos

Dirty Rotten Scoundrels

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dirty-rottenOriginal Broadway Cast 2005 (Ghostlight) 4 out of 5 stars (4 / 5) David Yazbek’s Broadway scores are just plain fun, whether it’s the frenetic farce of Women On the Verge of a Nervous Breakdown or the blue-collar humor of The Full Monty. For Dirty Rotten Scoundrels (book by Jeffrey Lane, based on the 1988 film), Yazbek wrote a genuine, old-fashioned musical comedy in which  the various songs put on as many guises as the con-men characters. There are pop pastiches, a scatological list song presented with Cowardesque elegance, a rueful ballad, a samba, and the most vulgar “I want” song in musical history, along with several numbers that require the performers to use accents outrageous enough to start another Franco-Prussian war. For all these varied styles, the score is well-tailored to the characters, and the excellent cast delivers. The scoundrels are the suave Lawrence Jameson (John Lithgow) and the crass Freddy Benson, the latter a small-time grifter eager for bigger scams. Klutzy heiress Christine Colgate (Sheri Rene Scott) is their mark, with Joanna Gleason and Gregory Jbara as the obligatory comic secondary couple. (I told you it’s a traditional musical comedy.) The versatile Lithgow assumes personae ranging from a dignified pseudo-prince to a sadistic Austrian shrink, yet still achieves a believable wistfulness in “Love Sneaks In.” Tony-winner Butz salivates over the “Great Big Stuff” he craves (“I wanna be like Trump!”), shrieks as mad Prince Ruprecht, and, with Scott, croons an anatomy lesson in “Love Is My Legs.” Scott pairs well with both tricksters and soars in the zippy “Here I Am.” (Yazbek is a fan of Ira Gershwin and Cole Porter’s skill with internal rhymes; they’d approve his work here.) Gleason and Jbara make the most of their numbers, especially the absurd yet sexy “Like Zis/Like Zat.” Harold Wheeler’s orchestrations have the right comic-caper tone for the proceedings, and the vocal arrangements by Yazbek and Ted Sperling let the ensemble punctuate the score with jazzy exclamation points. The recording includes two demos by Yazbek, plus Scott in a lovely version of “Nothing Is Too Wonderful To Be True” — a surprisingly pretty song with Butz’s comic verses removed. There’s also a bit of dialogue from Lithgow, warning listeners just before the tracks that reveal the final twists — the likes of which we haven’t encountered since The Mystery of Edwin Drood. The title of the show’s opening number is “Give Them What They Want.” I want more David Yazbek musicals. — Laura Frankos

Daddy Long Legs

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daddy-long-legsOriginal Off-Broadway Cast, 2015 (Ghostlight) 3 out of 5 stars (3 / 5) In Jean Webster’s 1912 novel Daddy-Long-Legs, Jerusha Abbott is an orphan whose intelligence prompts orphanage trustee Jervis Pendleton to pay for her education. He requests monthly reports on her studies through letters from her, though he has made it clear that he will not reply, remaining anonymous. Ultimately, she discovers he is her roommate’s highly attractive uncle. The novel’s success inspired a play, a 1951 London musical (Love From Judy), and four films. (The Fred Astaire movie Daddy Long Legs is far removed from the original.) The challenge for any adapter is the book’s epistolary style; the reader sees Jerusha’s experiences through her highly personable missives, and falls for her as Jervis does. How to translate a bunch of letters to the stage? The obvious answer is to open up the story, crowding the stage with multiple sets and lots of classmates and friends who are referred to in the book. But John Caird (book) and Paul Gordon (songs) pared their musical to the bare bones: Jerusha, Jervis, and those letters, which comprise most of Jerusha’s songs, performed by Megan McGinnis with a fine sense of developing maturity. The letters are also the indirect source of the songs written for Jervis (Paul Alexander Nolan),  as they represent his reactions to them. The greatest strength of the score is the arc of these letter songs. In “Like Other Girls,” Jerusha frets about fitting in, given her humble background, and she bemoans her ignorance of the classics in the delightful “Things I Don’t Know.” Jervis believably moves from reserved philanthropy (“She Thinks I’m Old”) to following Jerusha’s syllabus to wondering “What Does She Mean By Love?” Gordon convincingly explains Jervis’s reluctance to emotional attachments, a key reason why he keeps his identity secret even after meeting Jerusha in person. There are other gems — the sprightly “My Manhattan,” a valentine to New York, and the agonizing “Graduation Day,” when Jerusha’s heart breaks because she thinks her mysterious benefactor is a no-show. (He’s there, of course, and also hurting.) Not everything works. The opening is somewhat mired in exposition, especially Jerusha’s impersonation of another orphan. Jervis’ realization number, “Charity,” lacks the emotional punch it needs, and the finale, “All This Time,” is far too understated; we’re invested in this pair, and we want a bigger payoff.  Gordon’s melodies are intimate and sweet, played by piano, cello and guitar. The score is not period, but it fits the property in other respects.  A final note: Those who grew up with the novel may wonder why, in the musical, Jerusha doesn’t change her hated first name, foisted on her at the orphanage. Paul Gordon has said he wrote a song for that scene, but it didn’t work well — and also, unlike the character, he and Caird like the name “Jerusha.” — Laura Frankos

Adding Machine

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adding-machineOriginal Off-Broadway Cast, 2008 (P.S. Classics) 3 out of 5 stars (3 / 5) You might think The Adding Machine, Elmer Rice’s 1923 expressionist drama, an unlikely candidate for musical adaptation. It’s a bleak tale of a bigoted, downtrodden bookkeeper who kills his boss and is executed, ending up in the Elysian Fields, where recycling doesn’t mean reusing plastic bottles. Thankfully, Joshua Schmidt (music and book) and Jason Loewith (book) took on the challenge, and this recording recreates most of the largely sung-through show in all its nerve-jangling dissonance. Joel Hatch is outstanding as the bookkeeper, Mr. Zero — so obnoxious that you know he deserves his fate, yet so thick, you understand how he got that way. Hatch conveys Zero’s character through the staccato snarls of Schmidt and Loewith’s lyrics, full of blunt, monosyllabic statements. The joys in Zero’s life are few, but he relishes them, whether it’s the “Ham and Eggs” his harridan wife (the marvelously caustic Cyrilla Baer) brings for his final meal, or recalling their few moments of wedded bliss in “Didn’t We?” But rage smolders within his confused mind, crowded with endless figures. When his boss crushes his fantasy of promotion (“Movin’ Up”), telling him that he’s being replaced by an adding machine, Zero stabs him. In the afterlife, Zero encounters two souls he knew while alive: his assistant, Daisy (Amy Warren), and fellow inmate Shrdlu (Joe Ferrell). Both get songs that break up the harsh score — a gooey love ditty for Daisy, and a gospel rouser for religious nut Shrdlu, detailing his mother’s murder and the hellish torments he expects for his crime. Most of the score is intentionally jarring; piano, synthesizer, and percussion bang into the brain while the repetitive chorus provides a counterpoint of chanted numbers and echoed lyrics. It’s exactly the right tone for Rice’s piece, though you probably won’t find yourself playing this one often because of the shrillness. — Laura Frankos

An American in Paris

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ap-filmFilm Soundtrack, 1951 (MGM/Rhino-Turner/Watertower Music) 5 out of 5 stars (5 / 5) In the 1990s, Turner Entertainment restored one of MGM’s greatest musicals, An American In Paris. The restoration turned up the studio session tapes of the all-Gershwin score, which led to Turner teaming with Rhino Records to release a two-disc album stuffed full of the music heard in the film as well as outtakes, underscoring, and extended and alternate versions of songs. That 1996 CD is now out of print, but in 2015, Watertower Music made it available digitally through their Warner Archives series. The songs in the film, nearly all part of the Great American Songbook, are performed by an engaging trio: Gene Kelly as Jerry Mulligan, a war vet and aspiring painter; Oscar Levant as Adam Cook, an acerbic composer; and Georges Guetary as Henri Baurel, a song-and-dance man. Kelly is at his charming best teaching English to a gaggle of Parisian kids through “I Got Rhythm” and earnestly expressing his passion for Leslie Caron in “Love Is Here To Stay.” He joins Guetary in proclaiming the joys of love (for the same girl, though they don’t know it) in “‘S Wonderful,” and goofs with Levant on “Tra-la-la.” Guetary solos in a “(I’ll Build A) Stairway To Paradise,” so rousing that you expect showgirls to parade through your room. The soundtrack is capped by the MGM Studio Orchestra, up-sized to 72 players and conducted by Johnny Green, performing the glorious 16-minute “An American In Paris Ballet.” Added material includes underscoring and medleys by the studio orchestra and Benny Green and his band, along with outtakes such as Kelly’s heartfelt “I’ve Got a Crush On You” and an incredible set of Gershwin improvisations by Levant, who was a lifelong friend of Gershwin and one of his finest interpreters. The improvs got deleted from the film in favor of another treasure, Levant’s brilliant — and in the film, highly comic — rendition of the “Concerto in F (Third Movement).” This is one of the two pieces in stereo on the album; if this album has any drawbacks, it’s the fact that most of the session tapes didn’t survive in multi-channel format, so almost all of the music is presented here in mono. But that’s a quibble. It all adds up to nearly two hours of pure Gershwin(s), and as Ira wrote, “Who could ask for anything more?” —Laura Frankos

ap-broadwayOriginal Broadway Cast,  2015 (Sony Masterworks Broadway) 4 out of 5 stars (4 / 5) Some Gershwin fans may have been wary when they heard of plans to turn the beloved film An American in Paris into a stage musical, filled out with other numbers by George and Ira. Previous attempts to create “new” Gershwin shows through similar methods had had decidedly mixed results; just look at My One And Only, Crazy For You, and Nice Work If You Can Get It.  (On second thought,  please don’t look at Nice Work If You Can Get It.) But in this case, the outcome was far better. Librettist Craig Lucas, director Christopher Wheeldon, and musical supervisor/arranger Rob Fisher crafted a show that takes its inspiration from the film but wisely doesn’t try to replicate it.  Only five numbers — the “Concerto in F,” “I Got Rhythm,” “‘S Wonderful,” “Stairway to Paradise,” and the title ballet — are in both the movie and the show, and the interpolations were chosen with an eye toward how well they fit the plot and characters. In the stage musical, the time of the action is shifted to the immediate post-WWII years, with Paris recovering both spiritually and physically. That’s clear in the first ensemble number, “I Got Rhythm,” when Henri Baurel (Max von Essen) tells composer Adam Hochberg (Brandon Uranowitz), “People need to laugh. Paris needs it.” By the song’s end, Henri has brought a snappy 4/4 beat to Adam’s dirge-like melody, and the pair have become fast friends with another fellow vet, painter Jerry Mulligan (Robert Fairchild). Enter Lise Dassin (Leanne Cope), a young ballerina destined to become the love object of all three men — another departure from the film. It’s a nice touch, making Adam much more than comic relief, and Uranowitz’s heartbreaking take on “But Not For Me” is one of the cast recording’s highlights. The full trio of male leads also provides lovely harmonies, both joyful (“‘S Wonderful”) and poignant (the 11 o’clocker “They Can’t Take That Away From Me”). Fairchild has an engaging warmth that’s most evident in “I’ve Got Beginner’s Luck” and “Liza” but also comes through in the bits of dialogue on the recording. In the film, the female roles of Lise and Jerry’s patroness, Milo, don’t get any vocals, but that’s not the case here. Cope gives us a yearning “The Man I Love” and pairs well with Fairchild on one of the Gershwins’ sweetest ballads, “For You, For Me, For Evermore.” Jill Paice, as Milo, provides sophistication and sultriness in “Shall We Dance?” and a glimpse into her heart in “But Not For Me.” As in the film, it’s the concert pieces that really complete the whole, beautifully orchestrated here by Christopher Austin; the title ballet and the “Concerto in F” (the show’s opening) are joined by the “Second Prelude” and the first act finale, which includes the “Second Rhapsody” and the “Cuban Overture.” This cast album doesn’t replace the soundtrack, but it’s not meant to. It has its own merits. — L.F.

Newsies

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NewsiesOriginal Motion Picture Soundtrack, 1992 (Walt Disney) 2 out of 5 stars (2 / 5) Listening to the soundtrack recording of  this 1992 movie that starred a young Christian Bale (well before his days headlining much darker films) and Ann-Margret (an ever-alluring presence on screen and disc), you’d be hard-pressed to understand how it might ever be transformed into a Tony-nominated stage musical. Yes, there are small glimmers of terrific music by Alan Menken and clever lyrics by Jack Feldman, notably in such songs as “Santa Fe” and “The World Will Know.” For the most part, however, everything here feels and sounds overblown and forced, from the performers’ exaggerated “Noo Yawk” accents to the often thundering orchestrations provided by Thomas Pasatieri and Danny Troob, the latter of whom would go on to do some marvelous work for the Broadway incarnation of the tuner. Newsies was actually a flop when originally released to theaters, and only later gained great popularity through home video. For completists (and Ann-Margret fans), there are a couple of numbers, “My Lovey-Dovey Baby” and “High Times, Hard Times,” which didn’t make it to Broadway. And for the generation that fell in love with musicals because of this movie, the soundtrack recording remains something to be cherished. For everyone else, though, it’s best to stick with the Broadway cast album. — Andy Propst

NewsiesOriginal Broadway Cast, 2012 (Ghostlight) 4 out of 5 stars (4 / 5) Alan Menken employs a semi-period, semi-contemporary musical vocabulary for this stage version of the 1992 Disney film of the same title, to terrific effect, and Jack Feldman’s lyrics have a verve and wit that match the melodies beautifully. For those who grew up on the film about a newsboys’ strike against newspaper owner Joseph Pulitzer, the Broadway cast recording has most of the songs that they loved from the movie score, including the soaring “Santa Fe” and the rousing anthem “Seize the Day,” plus a large handful of new ones written specifically for the stage show. Something else this album has that the film soundtrack doesn’t is the enormously appealing presence of Jeremy Jordan, who, beyond sounding terrific from a musical/vocal standpoint, brings a great balance of streetwise toughness and vulnerability to his portrayal of the strikers’ leader, Jack Kelly. Other fine work includes Kara Lindsay’s smartly pert performance as a girl reporter who becomes Jack’s love interest, and Capathia Jenkins’ saucy turn as a music hall performer. The odd thing about the recording is that the show’s big dance numbers appear twice — once each in truncated form, then again as bonus tracks in full versions with dance breaks that feature Mark Himmel’s arrangements, excitingly orchestrated by Danny Troob. Having the complete tracks at the end of the album means that listeners who want to get a full sense of the show, or to re-experience what they saw in the theater, have to set up a special playlist with the proper run order. It’s cumbersome, and it ultimately detracts from the recording’s ability to genuinely communicate the thrill that live audiences got from this sleeper hit. — A.P.

The Wedding Singer

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Wedding SingerOriginal Broadway Cast, 2006 (Masterworks Broadway) 4 out of 5 stars (4 / 5) Antipathy towards screen-to-stage adaptations influenced a great many reactions to this tuner that musicalized the 1998 Adam Sandler movie for Broadway. It’s a pity, really, because the score by Matthew Sklar (music) and Chad Beguelin (lyrics) is one of the most charming and tuneful of the past 15 years or so. It helps that the songs are delivered by such theater vets as Laura Benanti, Amy Spanger, Rita Gardner, and Felicia Finley — along with comedian Stephen Lynch, who, in his Broadway debut, thoroughly charmed as the title character, a guy who’s dumped by his fianceé (Finley) on the eve of their own nuptials. Naturally, he loses his taste for performing at other people’s wedding receptions, and it’s only with the help of a good friend (Benanti) that he gets back on his feet and discovers genuine romance — wth her, of course. Because the show is set in the mid-1980s, composer Sklar pays homage to the pop icons of the day in his melodies, and his work, combined with the inventive and sometimes ingenious orchestrations of Irwin Fisch, calls to mind tunes by the likes of Madonna, Billy Joel, the Go-Gos, Stevie Nicks, and Michael Jackson. Beguelin’s lyrics match the styles of songs from the era, and they also brim with a kind of colloquial wit. Not everything in The Wedding Singer is great; the biggest stumble is “Move That Thang,” a rap number for Gardner, The Fantasticks’ original Luisa. But much of the score is golden. — Andy Propst

American Psycho

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American-PsychoOriginal London Cast, 2016 (Concord Records) 4 out of 5 stars (4 / 5) Duncan Sheik’s score for this musical adaptation of Bret Easton Ellis’ savage (in all senses of the word), satiric novel marvelously captures the musical vibe of the go-go 1980s, when “greed was good.” It helps that interpolated into the show’s score are some of the decade’s big hits — for example, Tears for Fears’ “Everybody Wants to Rule the World,” Phil Collins’ “In the Air Tonight” — which have been terrifically re-conceived for a theatrical storytelling mode. What’s not always so successful is Sheik’s attempt to capture the book’s biting humor. In certain numbers (“You Are What You Wear,”) his work as lyricist zings,  communicating the characters’ sense of entitlement while also commenting on their vapidity. Other songs — like “Mistletoe Alert” which attempts a similar dual purpose — fall flat on this original London cast recording, without the visuals that audiences encountered in the theater. As a record of the musical, the album provides an intriguing glimpse of it “in process.” Before American Psycho transferred from London to Broadway, new numbers were written and the song order was changed; for those who saw the show during its brief run in New York, it’s fascinating to listen to this OLCR and hear how the narrative became more direct in the journey across the Atlantic. (Roberto Aguirre-Sacasa wrote the book for the musical.) In the unlikely event that a Broadway cast recording is ever released, it will probably overshadow this one, thanks to the changes and Benjamin Walker’s electrifying performance as Patrick Bateman. Until then, this album will have to suffice, and listeners will find that Sheik’s energetic melodies seem to demand repeated plays. — Andy Propst

Jersey Boys

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Jersey-Boys-editOriginal Broadway Cast, 2005 (Rhino) 3 out of 5 stars (3 / 5) Jersey Boys tells the true story of the rise of the phenomenally successful 1960s pop singing group The Four Seasons — or, at least, true to whoever is in charge of the story at whatever point in the show. Rather than presenting a straightforward narrative, book writers Rick Elice and Marshall Brickman have each member of the group — here played by John Lloyd Young (Frankie Valli), Christian Hoff (Tommy DeVito), Daniel Reichard (Bob Gaudio), and J. Robert Spencer (Nick Massi) — take turns in telling the audience their version of the group’s rise and fall. The idea works because all four men make insightful, humorous, and (due to frequent contradictions with each other) unreliable narrators, giving the show an extra edge. This recording includes much of that well-crafted narration without interrupting the musical flow of the album. All four leading men have an easy charm and a singing style that lends the recording a sense of authenticity — as does the fact that it was produced by the real-life Bob Gaudio. In particular, Young does an excellent job of adapting his voice to resemble Frankie Valli and his famous falsetto without sounding like an imitation. Ron Melrose’s vocal arrangements and Steve Orich’s orchestrations are essentially period-appropriate. Unlike other jukebox musicals, Jersey Boys doesn’t aim to do anything new with the preexisting songs but, instead, offers a fun, fresh representation with smart, dramatically compelling commentary. — Matt Koplik

JB-SoundtrackFilm Soundtrack, 2014 (Rhino) No stars, not recommended. In bringing this hit jukebox/bio-musical to the screen, director Clint Eastwood remained mostly faithful to the stage material but chose to capture it through a more somber filter. This might have made for an emotionally compelling film, but in fact, it robs Jersey Boys of most of its charm and energy. The soundtrack album reflects this, despite the efforts of the talented quartet representing the Four Seasons: John Lloyd Young is back as Valli, with Vincent Piazza as Tommy DeVito, Erich Bergen as Bob Gaudio, and Michael Lomenda as Nick Massi. Oddly, the album’s producers opted to insert the real-life Frankie Valli’s renditions of certain songs in various places, giving the listener whiplash as we go from Valli to Young to Valli and back. There are also some excerpts from the Broadway cast album, which makes things even more confusing. Young is still in strong voice, and Bergen, Lomenda, and Piazza do a fine job of filling out the quartet — although, without any of the characters’ dialogue included here, Bergen is the only one of the remaining three to get a chance to shine (in “Cry For Me”). Because of the lack of dialogue and any sense of narrative, this soundtrack pales in comparison to the Broadway cast recording of Jersey Boys or any “Best of The Four Seasons” compilation album. — M.K.