Cast Albums Blog
REVIEW: Everybody\'s Talking About Jamie - Original London Cast
Almost a year into its West End run, which followed a tryout production in Sheffield in 2017, Everybody’s Talking About Jamie is now established as a hit. A performance has been broadcast live to cinemas, a film adaptation is on the way, and a London cast album (supplanting the concept album released to accompany that first production in Sheffield) has been available in the UK for a few months now. It’s finally getting a US release, which will hopefully introduce Dan Gillespie Sells and Tom MacRae’s wonderful score to a significantly wider audience.
REVIEW: Lost West End Vintage (Volume 2)
Here's another invaluable compilation album from Stage Door Records. Like the first Lost West End Vintage set last year, this collection offers a window into a chapter of British theatrical history that has left surprisingly few ripples, even though a good number of American musicals from the same period (1943 to 1962, broadly analogous to Broadway's so-called 'golden age') are still in the repertoire. Perhaps the musicals included here are not always lost masterpieces – whatever their merits may (once) have been, I don't imagine anybody is holding their breath for a revival of Dear Miss Phoebe or Cage Me a Peacock or The Love Doctor – but a great deal of this music is well worth your attention. I was already familiar with very little of the material included here, and a lot of it is tremendously entertaining.
REVIEW: Bat Out of Hell - Original London Cast
Released in Canada last year to coincide with the show’s Toronto opening and only now getting a full UK release several months into the second London run, the original cast recording of Bat out of Hell: the Musical turns out to sound exactly the way you’d expect it to if, like me, you’ve yet to see the show. At twenty-one (long) tracks over two discs, the album appears to give a reasonably complete account of the show’s principal musical numbers, most of which have been lifted from Meat Loaf’s Bat out of Hell trilogy. Either you like Jim Steinman’s floridly grandiose, quasi-operatic brand of rock or you don’t; I do, and I was prepared to love this album, but I never quite got there. It’s never bad, but it’s also never surprising: divorced from the show’s context, you’re left with a selection of mostly familiar songs presented in arrangements which never stray too far from Steinman’s trademark sound, performed by a superb band and a cast of apparently iron-lunged singers, none of whom are as distinctive or as interesting as the people who performed the songs on the original recordings.
REVIEW: Prince of Broadway - Original Broadway Cast
On paper, this should be a tremendous celebration. Harold Prince, the director and producer whose astonishing body of work is the subject of this revue, has arguably made as large a contribution to the evolution of musical theatre as any individual since the end of World War Two. He's worked with Bernstein, Sondheim, Lloyd Webber, Bock and Harnick, Kander and Ebb, and nearly everybody in between. He's produced and/or directed musicals that are now widely – universally – hailed as landmarks of the genre. His biggest hit – The Phantom of the Opera – has now been running on Broadway for more than thirty years. This revue's songstack contains an embarrassment of riches: peerless classic after peerless classic, performed by a brilliantly talented ensemble cast, all of whom have turned in distinguished work in other productions, with new arrangements and a new finale by the astonishingly talented Jason Robert Brown. You can practically feel the fireworks beginning in the instant before you press 'play'. What could possibly go wrong?
REVIEW: Working - Original London Cast
Over the past few years, London’s Southwark Playhouse has built an enviable reputation as the home of an eclectic series of productions of American musicals. Productions from a 250-seat fringe theatre south of the river, though, do not usually yield cast recordings, so the new (and thoroughly enjoyable) cast album from last year’s European premiere production of Working is a very welcome surprise. Luke Sheppard’s production was a dazzling, more-or-less perfect gem in the theatre, but plenty of theatrical gems have gone unrecorded. This one, though, has a unique selling-point: two brand-new(ish) songs by Lin-Manuel Miranda augmenting the score’s (already) eclectic range of songs from a diverse set of composers and lyricists.