Off Broadway Cast

Editorial Reviews
Lissa Willis-Stokes, The Winchester Star
"Fox's score brings back plenty of memories of the big band era." --This text refers to the Audio CD edition.

Ed Z. Pell, Host, Nationally Syndicated Program, Seems Like Old Times
"...a delightful musical...songs...so reminiscent of that era." --This text refers to the Audio CD edition.

Album Description
"Take It Easy" is a new hit swing musical set on the college campus during World War II. --This text refers to the Audio CD edition.

Off Broadway Cast

Off Broadway Cast, Music, Take It Easy

Evil Dead: The Musical (2006 Original Off-Broadway Cast)
Average customer rating:

Something that would be worth a long car ride with very smelly people to see

I Have Never Heard Anything Worse

Evil Dead Rocks!

Great fun!

Bloody good fun.

Evil Dead: The Musical (2006 Original Off-Broadway Cast)

Manufacturer: Time Life Records
ProductGroup: Music
Binding: Audio CD

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Spring Awakening (2006 Original Broadway Cast)

ASIN: B000N3ST7U
Release Date: 2007-04-24

Tracks:

Book of the Dead
Cabin in the Woods
Stupid B****
Housewares Employee
Evil Trees
It Won't Let Us Leave
Look Who's Evil Now
What the F**k Was That?
Join Us
Good Old Reliable Jake (Intro)
Good Old Reliable Jake
Housewares Employee (Reprise)
Death is a B****
I'm Not A Killer
Evil Puns
Bit Part Demon
Good..Bad..I'm the Guy with the Gun
All the Men in My Life Keep Getting Killed by Candaian 19. Demons
Ode to an Accidental Stabbing
Boomstick

Album Description

It's frighteningly clear that Evil Dead: The Musical is nothing like its glittery Broadway siblings. Peppered with enough four-letter words to make a rapper blush and bursting with more force than a Monty Python skit, the original cast recording of Evil Dead: The Musical is a truly unique treasure, sure to appeal to many with its offbeat edginess.

Customer Reviews:

Something that would be worth a long car ride with very smelly people to see.......2007-07-12

When I had first heard of this musical, I had thought that it could not possible be for real. When I actually heard this cd, I had thought that it could not possible be for real. This is the funniest, smartest, crassest and most original remake of movie that I have come across in a very long time. "What the F*** Was That?" will be on my list of top 100 songs for a very long time. Anyone who loved the movies this is based on, or who just have a place in their heart for comic gold, need to have this cd in their collection.

I Have Never Heard Anything Worse.......2007-07-11

OK, so after reading this review, I'm sure that most people will think that I'm one of those musical theatre elitists that just "don't get it" when a show is just trying to be fun. But, believe me, that couldn't be further from the truth. I can appreciate that musical theatre is supposed to speak to a wide range of tastes and styles and that a show like Evil Dead is not supposed to be taken too seriously. I also get it when a show is trying to be a clever parody (i.e. Urinetown) or just a fun and light-hearted piece of eye and ear candy that doesn't require a lot of deep thought or heavy emotion. I also understand that not all composers/lyricists are seasoned professionals and, believe it or not, I actually support and encourage new and start-up writers and embrace all of their novice mistakes, as long as they don't all occur in the same place at the same time. So, believe me, I get it.

But, sometimes, even with all of this forgiveness in my heart, there are some scores that are simply atrocious. I'm afriad that Evil Dead falls into that category. First, the music: In my mind, a musical score has to be either melodic or original. In the best cases, you have both. In the worst cases, you have neither. In this case, you have nothing. Just nothing. The songs don't say anything - musically or otherwise. They have all been done before, and they are all really, really, bad. I just don't know how else to say it. But the worst part of this unforgivable score has got to be the lyrics. When I say that they are unlistenable, I am not exagerating. These are the worst lyrics I have ever heard committed to CD. Seriously, they are that bad. I couldn't find one redeeming moment. Picture rhymes that a 6-year old might come up with - like trying to rhyme "would be" with "groovy", or "girl" with "squirrel". Yes, I'm afraid these are real examples. The lyrics, in fact, are so bad, that I am not completely confident in my review of the music because I couldn't even get through some of the songs. I shudder at the thought of ever going back to listen to this monstrosity again.

The performances are awful - but that I can forgive. After all, this was not a Broadway show and the actors, in all fairness, had no decent material to work with. I do like the concept, so please don't think that this is the problem. In fact, the story is why I even picked up this CD to begin with. My entire problem is that this is the worst score I have ever heard and, because of that, I found myself constantly infuriated at the fact that these composers were given any funding at all to stage this show - clearly based on the draw of the concept - when there are far better unknown composers out there with real talent who just can't get a break.

So, in summary - I encourage everyone reading this review to continue to support off-Broadway theatre and upstart composers and even shows that are not completely perfect. Just don't support this one. I'm sorry if that sounds harsh. But the producers who mounted this show and released this CD really don't deserve your money. There's no nice way to say it.

Evil Dead Rocks!.......2007-06-29

The cast album to 'Evil Dead" is almost as much fun as Little Shop of Horrors! It's a tongue in cheek spoof all the way with some really fun music to go along with it. Loads of different styles of music and plenty of fun for all!

Great fun!.......2007-06-18

A great recording of a fun show. Don't look for earth shattering lyrics, or unique music. Do look for a fun time - and be sure to read along with the booklet in the jewel case if you are an Evil Dead the Musical newbie. Don't listen with young children in the vacinity.

Bloody good fun........2007-05-23

If you've seen this show in New York or Toronto, you will love having this soundtrack. If you haven't seen the show but are a fan of the original movies, I'm pretty sure these songs will still be hilarious. If you're like me, it will live in your cd player for several weeks or more.

I wish I could go see this show again, but listening to these songs takes me right back to that enjoyable yet blood soaked night!

Godspell (1971 Original Off-Off-Broadway Cast)

Average customer rating:

The genuine original
It is dated- but good to remember
Moving Music
Got what I wanted
Excellent

Godspell (1971 Original Off-Off-Broadway Cast)
Stephen Schwartz , Stephen Nathan , and Robin Lamont
Manufacturer: Arista
ProductGroup: Music
Binding: Audio CD

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Godspell
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Godspell: Original Motion Picture Soundtrack

ASIN: B000002VDC
Release Date: 1990-04-03

Tracks:

Prepare Ye The Way Of The Lord
Save The People
Day By Day
Learn Your Lessons Well
Bless The Lord
All For The Best
All Good Gifts
Light Of The World
Turn Back, O Man
Alas For You
By My Side
We Beseech Thee
On The Willows
Finale
Day By Day (Reprise)

Amazon.com

Jesus was a pretty popular guy in New York in 1971; as the ersatz star of both Godspell and Jesus Christ Superstar. If Superstar was a little dark, Godspell was positively frothy; and its portrayal of Jesus as a hippie clown was part of its goofy charm. Another part was Stephen Schwartz's nifty score; a little naive and dated, but also as hummable as anything in history. Slap this in the CD player and be transported back in time to an era when kids were all singing "We Beseech Thee," "Prepare Ye the Way of The Lord" and, of course, the cheery "Day by Day." I'm guessing they don't do these in folk mass anymore. --Michael Ruby

Customer Reviews:

The genuine original.......2007-06-11

This is the genuine original, the only Godspell album that really ought to carry that distinction. It is not a sophisticated recording nor is the cast polished and experienced. Most of the cast is first and second year drama school students so voices are a touch thin and untrained. Listening with headphones reveals thumps often picked up from the piano microphone and other uncontrolled audio aspects. Instrumentation is basic with piano, Hammond M3 organ, acoustic, electric and bass guitar, drums and other percussion. It is not a problem however and adds to the charm and realism of the performance. As for where to peg it music wise I can't say it's Christian Rock, I find most Christian Rock is overly produced, slick and corporate and lacks soul and emotion. Godspell has a closer similarity to a good old Rock Opera with doses of folk mixed in. Lest one forget that we were freshly out of the 60's so it has many musical earmarks of that era. This recording of Godspell has vibrancy and energy that the later recordings of the musical seems to lack. Compare for example `All For The Best' on the 71' verses the London 93' version.

I am biased a bit; I grew up with this version. Not to mention have seen it performed at my childhood Presbyterian Church many times and I know the melodies, instrumentation and lyrics by heart.

It is dated- but good to remember.......2007-05-14

I listened with fondness in the 70's and part of the 80's untl cassette wore off.

I agree with the reviewer who said it sounds dated, it does.. and there is a lot of nostalgia in that, like remebering when in mass you could sing day-by-day.. its songs may not be as impressive as Superstar, but they are more ctachy and melodical.. All the willows there is a great song, not too sad or tragic...

It was only late in the 80's when I had the chance to see the movie, and I was not that impressed, though I admitt it was original.

Moving Music.......2007-03-09

Godspell takes a while to grow on you, but once it does you won't go away disappointed. The musical that made "Day By Day" famous is light, inspirational and a good way to make your day.

Got what I wanted.......2007-03-08

The item I ordered is the item I received. It's hard to go wrong with a particular CD that you want. Had I ordered the American Cast CD and received the London cast CD, then I would not have been happy. But I got what I wanted, so I am happy!

Excellent.......2007-01-04

The vocals and beautiful harmonies with the awesome band blew me away. I was very impressed. This CD was very helpful to me because my school is doing Godspell as a play and it helped me learn the songs and understand the meaning behing the songs. I got the CD before auditions, and I scored a lead! I sing "By My Side" which is one of my favorite songs on the CD.

The Last 5 Years (2002 Off-Broadway Cast)

Average customer rating:

Best work by the new Sondheim
second time buying this
Jason Robert Brown's newest, not best.
If You Didn't Believe In Jason Robert Brown, You Should Now
The Last 5 Years

The Last 5 Years (2002 Off-Broadway Cast)
Jason Robert Brown , Norbert Leo Butz , and Sherie Rene Scott
Manufacturer: Ghostlight
ProductGroup: Music
Binding: Audio CD

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Songs for a New World (1996 Original New York Cast)
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Wearing Someone Else's Clothes

ASIN: B000065CXP
Release Date: 2002-04-16

Tracks:

Still Hurting
Shiksa Goddess
See I'm Smiling
Moving Too Fast
A Part of That
The Schmuel Song
A Summer in Ohio
The Next Ten Minutes
A Miracle Would Happen/When You Come Home to Me
Climbing Uphill
If I Didn't Believe in You
I Can Do Better Than That
Nobody Needs to Know
Goodbye Until Tomorrow/I Could Never Rescue You

Amazon.com

Jason Robert Brown burst on the musical-theater scene with a bang when his first Broadway show, Parade, won the Tony for original score in 1999. This new offering is more modest in scale than Parade, but it allows Brown to refine his skills. A two-character, one-act play, The Last 5 Years retraces a relationship through a complex structure that involves varying viewpoints and a chronology that unfurls backward and forward. Brown himself plays the piano and leads a small ensemble, while Norbert Leo Butz (Thou Shalt Not) and Sherie René Scott (Aida) sing the composer's heartbreaking melodies. Brown's lyrics need a bit of work (he can be oddly crass at unexpected moments), but he knows how to write songs that incorporate a pop sensibility and a distinctly theatrical narrative drive. That in itself is quite an achievement. --Elisabeth Vincentelli

Description

A fresh and contemporary musical from Tony Award-winning composer Jason Robert Brown (Parade), "The Last 5 Years" chronicles a young couple's romance in a new and exciting way: Her story starts at the end of their relationship, his begins on the day they met. Funny and uplifting, the show captures some of the most heartbreaking and universally-felt moments of modern romance. Co-star Norbert Leo Butz was last seen on Broadway in Harry Connick Jr.'s "Thou Shalt Not," appeared in the hit musical "Rent," and portrayed the emcee in the touring production of "Cabaret." Sherie Rene Scott, last seen on Broadway in Elton John and Tim Rice's "Aida," also starred in "Rent" and "The Who's Tommy." Songs: Still Hurting, Shiksa Goddess, See I'm Smiling, Moving Too Fast, A Part of That, The Schmuel Song, A Summer in Ohio, The Next Ten Minutes, A Miracle Would Happen/When You Come Home to Me, Climbing Uphill, If I Didn't Believe in You, I Can Do Better Than That, Nobody Needs to Know, Goodbye Until Tomorrow/I Could Never Rescue You.

Customer Reviews:

Best work by the new Sondheim.......2007-06-08

If you like Sondheim, you will like Jason Robert Brown. His music is more sophisticated than Jonathan Larson, and yet still akin to popular music for our generation! I feel this musical is his best-to-date, but I can't wait to see the new pieces in store. If you liked "Songs for a New World", you will not be disappointed in this work. It is a little more like a traditional musical with a plot that weaves between two parts of a couple, and how they move through their relationship together (the trick is, he is going backwards in time, she forwards--they meet at the wedding.)

second time buying this.......2007-03-28

i have bought this cd twice now. the first time it got stolen and i put off buying as long as i could, but it's just too good. jrb is a wonderful composer and w/ nlb and srs singing his stuff; it's just too good to pass up if you dig show tunes.

Jason Robert Brown's newest, not best........2007-01-19

Parade is fantastic in every way shape or form, its deep, emotional, full of everything, great lyrics and singers. The Last Five Years is good in every way shape or form. The concept is amazing (although it doesn't really come through unless you read the synopsis). The Lyrics really capture the internal monologues of relationships. The orchestrations are simple, which is fine for a show like this. The singers... I was surprised by. Norbert Leo Butz, has been stellar in the other shows I've heard him in, but this one has moments that make him sound amateurish. Sherie Rene Scott has an interesting voice, that sometimes sounds like it isn't being treated healthy. That really comes through in this CD, sometimes she doesn't sound very good. But overall, this is a great CD. Brown is wonderful, the singers are broadways hottest, the topics are very close to home. I would suggest this for almost everyone. Its new and edgy, but borrows some mechanics of the classics. Definitely one for collectors, and people who just started listening to musicals. Favorite Song: "Climbing Uphill"

If You Didn't Believe In Jason Robert Brown, You Should Now.......2007-01-10

Jason Robert Brown wrote a splendidly beautiful musical, semi-autobiographical, chronicling the 5 year span of a relationship. The first five minutes had me hooked. In these first five minutes, Kathy is "Still Hurting" after the torential breakup of her marriage due to many particulars including adultery. With this tender introduction to Kathy, I was immediately sucked into her world of pain, loss, and failure. "What about lies Jamie? What about things that you swore to be true?" It is a question we've all asked time and time again. The music here is outstanding as well. Brown has decided to use a piano, drum kit and a string quartet in lieu of full orchestrations. And this works very well for the cast of two characters. Brown's previous musical, the large-scale "Parade" won him accollades of acclaim from critics everywhere on his music and orchestrations. He knows how to write. After Kathy, sung to perfection Sherie Renee Scott (she has such a conversational way of singing, and not to mention seamless voice), Jamie enters the stage with samba beat singing about this "Shiksa Goddess" he's just met...and her name is Kathy! "WAIT!" I said. Didn't he just lie to her, hurt her, and isn't she still pushing through all of the aftermath of their divorce? And isn't he fine with it? It was then that I knew this was no ordinary musical. Brown has done something revolutionary on the Musical Theatre Stage. Throughout the course of the show, the characters are moving in different directions; not only in their relationship, but in time. Kathy starts at the end of the 5 year relationship and regresses to the beginning, whereas Jamie starts at the beginning of the relationship and progresses to the end. They rarely interact until their marriage, where they sing finally sing together. This is of course another beautiful duet ballad Brown has written a la "All The Wasted Time" in "Parade." In this song, they sing their vows which focus on how much they love one another despite what their fault may imply. During one of Kathy's earlier songs "See I'm Smiling," we really get a sense of how hard it can be when you can see the end of a relationship falling upon you. It's a hard song to get through, though mostly quiet as she smiles through her tears and tries to see everything as "fine." But it is not. When she finally breaks, it is because Jamie decided to go to a party celebrating his book, than take her out for her birthday. When this happens, it is some of the best writing musically and lyrically in musical theatre. The way in which the lyrics seamlessly blend into the melody making it sound as though she were really just talking; the ups and downs through the anger; the breaking point where she finally realizes it is no use. And Scott sings her heart out of it. It raised the hair on my arms.
Further into the show, we have some more beautiful melodies arise and wonderful lyrics. You never think that Brown is trying to hard to rhyme. Norbert Leo Butz has the pleasure to sing Jamie, and in "Nobody Needs to Know" we get an sense of the sadness that came with all of Jamie's fortune. He is not happy. He did love Kathy. Fame, however, tainted that and hurt him in the end. As he lies in bed with another woman, we see the regret of his loss of innocense. With his rock-belter voice, Butz pulls this off with just the right amount of self-pity, without over-indulging. The Last 5 Years is definitely one of the bright shining moments of musical theatre in the new millenium. Brown should have received much more acclaim for this, as it is not as widely known as it should.

The Last 5 Years.......2007-01-03

One of the best musicals I have ever heard. It's amazing.

Urinetown (2001 Original Off-Broadway Cast)

Average customer rating:

An Amazing Find
Urinetown the Musical
Not for Everyone
"DON'T BE THE BUNNY!"
Now my favorite CD, EVER!

Urinetown (2001 Original Off-Broadway Cast)
John Cullum , Mark Hollmann , Danny Marcus , and Hunter Foster
Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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Urinetown: The Musical
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ASIN: B00005LZR8
Release Date: 2001-08-07

Tracks:

Overture
Too Much Exposition
Urinetown
It's A Privilege To Pee
Mr. Cladwell
Cop Song
Follow Your Heart
Look At The Sky
Don't Be The Bunny
Act One Finale
What Is Urinetown?
Snuff That Girl
Run, Freedom, Run!
Why Did I Listen To That Man?
Tell Her I Love Her
We're Not Sorry
We're Not Sorry (reprise)
I See A River

Amazon.com

"How about a bad title?" wonders Spencer Kayden's Little Sally in "Too Much Exposition." "That could kill a show pretty good." It's a tribute to the skill deployed by the Urinetown creative team (Mark Hollman, music and lyrics; Greg Kotis, book and lyrics) that its title doesn't kill the show. Set in a near-future in which water depletion has led to a ban on private toilets, this may be the only musical in history in which one of the leads makes a fortune on pee. But the show (which originated Off-Broadway before graduating to the big league) limits its subversive intent to subject matter and is refreshingly classic in approach and structure--think Weill-meets-Lewis Carroll. Backed by a small ensemble, the cast (with John Cullum in a turn nothing short of brilliant as the evil urinal magnate) has a field day with Kotis and Hollman's frequently hilarious score. --Elisabeth Vincentelli

Customer Reviews:

An Amazing Find.......2007-04-03

I just recently discovered this gem of a musical. It's a stand out show with a unique touch. If heard a few outside musicals (The Rocky Horror Show, Hedwig and the Angry Inch...) but this one stands out from them. The music is amazing, the lyrics are creative, and the humor is ripe.

With a chamber music-esque overture, the tone is set. 'Too Much Exposition' is a great introduction to Urinetown (the musical). Officer Lockstock addresses the audience about what they should expect from the show. Little Sally wants to let the audience in on the water shortage but Lockstock stops her. ("You're too young to understand it now, but nothing can kill a show like too much exposition." "How 'bout bad subject matter? Or a bad title, even? That could kill a show pretty good.")

I've read what others have written: you don't get the whole humor of the show unless you've seen it. I haven't seen it, but this recording is enough to get me see it. (That is, if a production nearby, even a high school production, is put on.)

The songs that I find myself listening to over and over are:

Too Much Exposition (not really a song, but still...)
Urinetown
It's A Privilage to Pee
Mr. Cladwell (a wonderfully sweet villain song)
Cop Song (a wonderfully fun villain song)
Follow Your Heart
Don't Be the Bunny
Act 1 Finale
What Is Urinetown?
Run, Freedome, Run!
Why Did I Listen to That Man?
We're Not Sorry (a great 20's sound, reminds me of 'Chicago')
I See A River (I really love this song... the feeling gotten across, before Lockstock comes out to comment, is 'Oh, everything is going to be okay', but Lockstock informs us that all is NOT well)

With a cry of "Hail Mathus!" the show ends. I just have to listen again, after making a trip to the bathroom.

Urinetown the Musical.......2007-03-10

This CD has all the songs from the show. The show is great and this rendition is about the best.

Not for Everyone.......2006-12-28

This musical is a great piece for the 21st century no doubt, that being said it takes some getting used to. The musical cannot be taken at face value, there are lots of things happening under the surface and it takes some bites at things musical theater doesn't usually take, like itself. On the surface it is strange, and not really something people would listen to over and over. However, once you figure it out, it's fun to listen to it again to find all the things that are really going on. It is very funny, and says some good things about the current state of the world. For musical theater fans this is questionable, if you just like the toe-tapping happy go lucky feel, this isn't it. But if you like the social commentary that goes along with that toe tapping, this is a must. NOT FOR FIRST TIME BROADWAY LISTNERS. Favorite Song: "Look at the Sky"

"DON'T BE THE BUNNY!".......2006-12-04

My son, a high school senior, told me his first show of this year's theatrical season was going to be "Urinetown". My response was something like ... No, really, what shows are you doing this year? Then he brought home a recording of it, and I was hooked right away by the lyrics. Over the years my son has been involved in many performances, but he and the rest of the cast had a real blast preparing for, and performing, this show! He wanted Lockstock, but was cast as Cladwell ... Owned it ... Loved it!
I am no Broadway expert by any stretch of the definition, but this show is wonderfully entertaining! You will see (and hear) snippets from other shows, you will pick up on some of even the more subtle stabs at musicals as a whole, you will groan, you will laugh and you will enjoy ... But only if you try not to take it too seriously.
Get past the title (in this case I certainly think it did not "...kill a show pretty good"), relax, and be entertained. And for goodness sake, if you have a chance to see it performed live, do so! A musical that pokes fun at itself? Yes, a refreshing departure from the norm, and worth the price of admission.

Now my favorite CD, EVER!.......2006-10-03

After reading Urinetown (never having seen it), I wondered what on earth it sounded like. Most of the book is just lyrics, and I had no idea what they sounded like. When I finally listened to the music, I found an incredibly complex, catchy, and moving CD.

The music isn't so much complex as it is creative and works with the lyrics. Keep in mind this is a comedy, but this comedy does have soaring melodies and very great simulataneous singing moments (I can't remember what that is specifically called, but think of "Tonight Reprise" from West Side Story). These songs not only entertained me, it moved the story along.

My favorite song is "Why Did I Listen to that Man?" as it is the song where everything comes together and reaches the climax (both in story-line and musically). However, I have a soft spot for every Cladwell song (and I haven't found a person yet who doesn't love "Don't Be the Bunny) as well as every song. What's best about this musical is the range of genres (but not so much as one would find in Joseph and the Amazing Technicolor Dreamcoat).

The cast is truly talented and can perform these songs. It's a very strong recording for what I feel (after finally getting to see it) is the best contemporary musical to date. Not only will your sides split, but you'll learn something too. Best of all, it's a musical for everyone. Unlike other equally hilarious comedies (*cough*The Producers*cough*), Urinetown never relies on "unappropriate" and "adult" material to deliver laughs, although you will have to get over the "really awful title."

The Fantasticks (Original 1960 Off-Off Broadway Cast)

Average customer rating:

A Show For The Decades
The Fantasticks ( Original 1960 Off-Off Broadway Cast)
Great Show
The Fantastics original Off Broadway Cast
piece of history

The Fantasticks (Original 1960 Off-Off Broadway Cast)
Harvey Schmidt , Tom Jones , and Jerry Orbach
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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The Fantasticks
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My Fair Lady (1956 Original Broadway Cast)

ASIN: B00004STPR
Release Date: 2000-04-25

Tracks:

Act One (In The Moonlight): Overture
Act One (In The Moonlight): Try To Remember
Act One (In The Moonlight): Much More
Act One (In The Moonlight): Metaphor
Act One (In The Moonlight): Never Say No
Act One (In The Moonlight): It Depends On What You Pay
Act One (In The Moonlight): You Wonder How These Things Begin
Act One (In The Moonlight): Soon It's Gonna Rain
Act One (In The Moonlight): The Rape Ballet/Happy Ending
Act Two (In The Sunlight): This Plum Is Too Ripe
Act Two (In The Sunlight): I Can See It
Act Two (In The Sunlight): Plant A Radish
Act Two (In The Sunlight): Round And Round
Act Two (In The Sunlight): There Is A Curious Paradox
Act Two (In The Sunlight): They Were You
Act Two (In The Sunlight): Try To Remember (Reprise)

Amazon.com

On May 3, 1960, a chamber-sized variation on Romeo and Juliet by composer Harvey Schmidt and writer-lyricist Tom Jones opened off-off-Broadway at the Sullivan Street Playhouse. On May 3, 2000, The Fantasticks opened again at the Sullivan Street Playhouse, celebrating 40 continuous years of performances and having long since become the longest-running musical in the history of the world. And while many cast members have come and gone, it's the original cast recording that has become an indelible part of our memory, from the dual pianos dotting the overture and Jerry Orbach's rich reading of "Try to Remember" to the fathers' lament "Never Say No" and the gorgeous duet "Soon It's Gonna Rain." Even better, this anniversary edition CD benefits from remastered sound (you can now hear the harp strum in the opening bars) and a new booklet that includes a note from Jones, an introductory essay, and (drumroll, please) full lyrics. Yes, it's still true that the voices may not have the sheer beauty some modern ears might expect, and the pit band (augmented from two players to five for this recording) sounds a bit dated, but who cares? It's The Fantasticks, an essential piece of musical theater history. Long may it run. --David Horiuchi

Customer Reviews:

A Show For The Decades.......2007-06-24

I first saw "The Fantasticks" in 1962 when my then girlfriend asked me to take her to see it. As soon as the ovature began, I was hooked. It literally bit into my soul and has been there ever since. And to tell honest, each time I began going steady with another lady, I would take her to see this show.

The first time I saw it was with most of the original cast. Over the next 11 years I likely saw "The Fantasticks" once a year and each time was a most pleasant experience. Then in 1972 I moved West.

The last time I saw the original production was in the mid-1970's when my wife and I were on a trip to "da Big Apple" and we went to see one of our friends who was then in the cast. My wife had heard the LP but had not seen the show until then.

When I moved to CD's I put my LP's in storage. Except for hearing a few songs on the radio from time to time, "The Fantasticks" fell into the recesses of our minds. Then in recent weeks several things happened. I was going to be in NYC and had heard about the revival at the Snapple Theater. So, I bought tickers for myself and some friends.

Also, curious to see if the show had been released on CD, I was elated to find that it had been remastered and re-released. I ordered it and we have been playing it ever since it arrived. And it still bites at my heart in the same way it did all those years ago when Jerry Orbach, Rita Gardner, Kenneth Nelson and all the others first introduced me to the beauty of Tom Jones lyrics and Henry Schmidt's music.

Addendum: On Sunday evening May 13, 2007, I found myself sitting in the Snapple Theater to once again experience the true elegance of this amazing little show. It was for this writer, a trip back in time. A truly lovey trip back and an evening of theater that I cherish.

The Fantasticks ( Original 1960 Off-Off Broadway Cast).......2007-05-27

I've seen this show many times in various settings, but the original cast versions tops them all. I'm glad someone had the sense to make it available on DVD.

Great Show.......2007-05-12

I have been looking everywhere for a CD of the Fantastics and finally found ut at Amazon. It is a great CD and play. Now I know where to buy things that noone else has.

Thanks for carrying this CD

The Fantastics original Off Broadway Cast.......2007-05-12

What can I say? The soundtrack of this wonderful show is just terrific. I grew up two blocks from the Sullivan Street Playhouse where this show had it's run. In 1968 my husband (then fiance) and I saw the show and have loved it ever since. We've owned the sound track on LP and now we're enjoying the CD immensely. Brings back lots of good memories. I especially like hearing Jerry Orbach's voice on the CD.

piece of history.......2007-03-15

My father was a big fan of the song Try To Remember, and I heard Jerry Orbach sing it on xm, Broadway. The recording quality is superb and the actual off broadway play is great also; If you're into this kind of thing, you won't be disapointed

[title of show] (2006 Original Off-Broadway Cast)

Average customer rating:

This Musical is so [title of show]
It would be SO [title of show] of you to get this CD!
A must for musical theatre lovers
That's Original...and I Like That!
[title of review]

[title of show] (2006 Original Off-Broadway Cast)
Jeff Bowen , Hunter Bell , Susan Blackwell , and Heidi Blickenstaff
Manufacturer: Ghostlight
ProductGroup: Music
Binding: Audio CD

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Grey Gardens - A New Musical (2006 Original Broadway Cast)
Spring Awakening (2006 Original Broadway Cast)
The Drowsy Chaperone (2006 Original Broadway Cast)
I Love You Because (2006 Original Off-Broadway Cast)
Curtains (2007 Original Broadway Cast)

ASIN: B000G5SI80
Release Date: 2006-07-25

Tracks:

Untitled Opening Number
Two Nobodies in New York
An Original Musical
Monkeys and Playbills
The Tony Award Song
Part of it All
I Am Playing Me
What Kind of Girl is She?
Die Vampire, Die!
Filling Out the Form
September Song
Secondary Characters
A Way Back to Then
Nine People's Favorite Thing
Finale
Bonus Track: [title of show]

Amazon.com

The mysteriously monickered [title of show] turned into an unlikely—but well-deserved—Off-Broadway hit in 2006. A large part of the show's appeal is that it's a true Broadway geekfest. It tracks the songwriting team of Jeff and Hunter as they attempt to come up with a musical very, very quickly if they're going to make a festival's deadline—-kinda like the real authors of [title of show], Jeff Bowen (music and lyrics) and Hunter Bell (book), who also are part of the cast. We follow them as they race through various stock plots and characters, and then negotiate obstacle course such as finding backers, casting singers, and dealing with publicity. Bowen and Bell ingeniously integrate in-jokes about musical theater and its place in the culture at large ("Who wants to see Paris Hilton in The Apple Tree?") and set them to music so catchy it transcends the minimal arrangements (that'd be piano and...well, that's it). [title of show] shows what you can do with little money but lots of ideas and what seems like a bottomless reservoir of fun. Think of it as an update of the old MGM musicals in which Judy Garland and Mickey Rooney would put on a show in a barn. --Elisabeth Vincentelli

Album Description

Includes 15 tracks plus exclusive bonus tracks!

Customer Reviews:

This Musical is so [title of show].......2007-06-17

I fell in love with [title of show] as soon as the first track was over and by the time I had listened to the whole soundtrack, I didn't want it to be over and I had to play it again. It's unique and new and unlike anything else I have ever listened to. It truly is an original musical. I have listened to this musical over and over and over again since I purchased it and I still am not sick of it.

Jeff Bowen does an excellent job of portraying the difficulty of creating a new musical, putting the show they worked so hard on out there to be scrutinized and the ups and downs of the theatre world. He shows the difficulties of creating something truly new in a seemingly rather closed-minded theatre community. He shows the development of friendships and the realization of dreams from childhood. He shows the defeat of the dissenting thoughts and people that try and hold you back. And he does all this with a healthy helping of satire and sarcasm that keeps you laughing all the way through.

If you are looking for something new and different, this is the show for you. If you looking for a good laugh and maybe even a few tears here and there, this show is for you. If you are looking for a musical you won't be able to stop listening to, this is the show for you. Be prepared to be amazed!

It would be SO [title of show] of you to get this CD!.......2007-05-11

Wow! What can I say? This show is amazing!! Even though the set is minimal (four chairs), no big orchestrations (a piano) and the cast is sparse (four people), the music, acting and lyrics more than make up for it. The bond of the cast is extremely tight and it shows through their harmony. I have hundreds of shows in my collection, and usually I pick one or two songs to put on a mix on my ipod, but i think it speaks for itself when I put the entire last half of the show on my mix. Don't get me wrong, I love the first half as well, especially "Monkeys and Playbills!!" It's brilliant! When Susan and Heidi are meeting for the first time, it's very reminiscient of the meeting of cinderella and the baker's wife in "into the woods" right down to the line "i need your shoe!" I would love to fund for Hunter, Jeff, Heidi and Susan to come perform this show for my group of friends, since it's our favorite thing....and there are more than nine of us. :)

A must for musical theatre lovers.......2007-04-24

The music is catchy and lyrics are irreverently witty. You will like the recording more if you are a musical theatre fan as much of the lyrics poke fun at past flops shows in Broadway History. Everytime you listen to the album, you find another flop show hidden in the lyrics. It's akin to counting the Ninas in the Hirschfeld drawings.If you know what I am talking about (the Ninas in the Hirschfeld drawings) run and buy this albu. If you are a musical theatre buff, run and buy this album. The rest, I'm afraid, might not get it. Super witty material for the Theatre Lover. Look forward to more shows by this duo.

That's Original...and I Like That!.......2007-02-11

What a funny, original musical this is. The simple story of two guys writing a musical about two guys writing a musical about two guys writing a musical is written by two guys, stars those same two guys, and co-stars two girls. The writing is a mix of poignancy, biting sarcasm, parody and just plain old wit. The song that convinced me to buy the recording was "Die Vampire, Die" which is an exhortation to ignore those things in our life that threaten to derail our dreams and artistic endeavors. However, after a few listens, my favorite song became "An Original Musical." Which is an extremely funny parody of "I'm Just a Bill" from Schoolhouse Rock. The song pokes fun at the lack of originality on Broadway these days, but doesn't do it in a mean way. Some of the lines in the song are laugh out loud funny.

If you've ever done anything artistic, or dreamed of doing anything artistic, then get this cast recording today.

[title of review].......2007-02-07

VERY entertaining - and very inspirational for someone who is trying to write their own musical!

Jacques Brel Is Alive and Well and Living in Paris (1966 Original Off-Broadway Cast)

Average customer rating:

Jaques Brel still lives
Fabulous Show
Jacques Brel lives on through English Translation of his songs
A Little Night Music....
Fine Singer / Actors Do Brel Justice

Jacques Brel Is Alive and Well and Living in Paris (1966 Original Off-Broadway Cast)
Jacques Brel , Ocr , Elly Stone , and Mort Shuman
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Brel Vol. 1 (Master Serie)
Infiniment
Jacques Brel Is Alive and Well and Living in Paris
Jacques Brel Is Alive and Well and Living in Paris
The Fantasticks (Original 1960 Off-Off Broadway Cast)

ASIN: B000067AS5
Release Date: 2002-05-28

Tracks:

Marathon
Alone
Madeleine
I Loved
Mathilde
Bachelor's Dance
Timid Frieda
My Death
Jackie
Desperate Ones
Sons Of.
Amsterdam
The Bulls
Old Folks
Marieke
Brussels
Fanette
Funeral Tango
The Middle Class
You're Not Alone
Next
Carousel
If We Only Have Love

Amazon.com

At the time of this show's 1968 Greenwich Village debut, French singer-songwriter Jacques Brel's body of theatrically insightful ballads was already an obscure but deeply influential treasure trove for many American musicians. The revue's success would go on to influence artists as diverse as Leonard Cohen, Bowie (who covered "Amsterdam" shortly thereafter), and Sinatra, and it may even be responsible for one-hit wonder Terry Jacks's revival of "Seasons in the Sun".

More important, the pioneering musical-without-a-book helped introduce Brel's oft-brooding, ever evocative art to a wider American audience--and arguably had an evolutionary influence on Broadway itself. This complete reissue of the 1968 boxed set cast album offers up a rich cross-section of Brel's songs about life, death, and love--and typically sharp-eyed observations about the human follies that season them--deftly performed by a cast that includes Elly Stone, Alice Whitfield, Shawn Elliott, and, crucially, rock pioneer, Brel associate, and co-producer Mort Shuman. This new edition fleshes out the set with the sessions' only unreleased song, a sprightly take on the deliciously cynical "The Middle Class." --Jerry McCulley

Customer Reviews:

Jaques Brel still lives.......2007-04-02

The CD of the original cast is still fresh and still gives Brel's music the most fitting rendition

Fabulous Show.......2007-02-22

This compilation of Brel's songs remains one of my favorite musicals. I would recommend it to everyone!

Jacques Brel lives on through English Translation of his songs.......2007-02-12

Although I've never heard but one Jacques Brel song in French (song by he, himself on the DVD - which is a MUST BUY), I heard this "album" shortly after it came out, in the early 70's. My dad got me turned on to this music and it's stayed with me all these 40+ years. This is very special music to me and I'm thrilled to have both the CD and the DVD.

A Little Night Music...........2007-01-23

I can't explain why I might review this...it's been a long while since listening. Yet it was a show that was transformative obviously not just for me. I'm thinking Bowie and other thoughts that way...and it shaped my hopes and dreams and now, older and not so well, I listened to this tonight at 2AM, not sleeping again, recalling how I heard it then, how I hear it now.
I had a good friend who was in the show for one summer, maybe 79 or 80. Just a sad staging in a little town in Appalachia trying on some Paris. We had a dinner theater in our town, which meant an old building , some tables, small area and a stage kind of and some curtains. Rather ambitious for the town, they staged summer shows of Brel. And other things too, finally. My girlfriend as she often did hooked me into her evenings and I made drinks there as well as gave a few musical efforts and some easily forgotten attempts at choral support. On nights someone didn't show. You actually also made the food and sang the show, in those days for your audience, who tended to tip fairly poorly and be the local lawyers and med school doctors dragged out by wives seeking a cultural night of dinner theater. It was a kind of starving kids for ten bucks sing, act, cook, serve vodka/tonics, smoke and tell you the story of Boheme life while mixing blue cheese from packets of powder and creme in a frenzy preparing to figure out who plays the piano well enough as the player won't being pissed over low wages and a remark made about his big derrière. That kind of a summer. Songs probably wasted on the young.

All that said, it was/is a lovely collection of songs. Even better an experience when you learn and sing the French and can then argue incessantly about the translations and "feel" of the shows on two continents. I loved then to sing them, and find a tune floating in my head tonight from no where-just there- when "No. Love You're Not Alone" actually woke me. The American film was awful, the show best seen in revival and smoky nights in clubs. Then, in 1980 or so, it made my life richer, it's probably a good thing Susanna was such a friend...though I didn't understand, we dragged ourselves to a lot of meaning.And that rather odious experience in the Bahamas.

I think this worthy of time and listening. And a big moon would be cool, to walk on the shore and hear it once more. Think I'll slip out awhile.

Fine Singer / Actors Do Brel Justice.......2007-01-15

In 1966, an American producer named Nat Shapiro introduced Eric Blau to Mort Shuman. Five years earlier, Mr. Shapiro had introduced Mr. Blau and his wife, Elly Stone, to the songs of Jacques Brel. After hearing a recording of one of Brel's concerts, Elly Stone informed her husband that Brel was the greatest songwriter of the 20th century, and she induced him to be the very first to translate Brel into English. Shortly thereafter, Elly Stone premiered Brel's love song, Ne me quitte pas (Don't Leave Me) to American audiences in the off-Broadway revue, O Oysters, along with the first English Brel translation, Carousel, showcasing Brel's melody for La valse a mille temps (The Waltz A Thousand Times As Fast) and loosely translated lyrics.

Unbeknownst to them, about the same time Elly Stone heard her first Brel recording, Mort Shuman was undergoing something of a revelation across the Atlantic. In the midst of a successful career writing rock and roll songs (including hits for Elvis Presley, and the ubiquitous teenage anthem, Save The last Dance For Me), Mort Shuman had been wandering restlessly around Europe, and came to settle for a time in Paris. There, he became acquainted with Brel's music, and, later, with the man himself, and the two became close friends. Shuman convinced Brel that he should be allowed to translate some of his better-known songs into English, and bring them to America. More on the strength of their friendship than Shuman's reputation as a songwriter, Brel agreed, but a problem soon emerged. Although Shuman had mastered French surprisingly well, he was finding the task of translating Brel's songs quite daunting. After several attempts, Shuman found his English versions sorely lacking. He realized that it was not only that he had become too enraptured with Brel's work to find the objectivity required to do them justice, but it also became apparent that Brel's songs reflected too much of the French philosophy and politics to appeal to an American public largely besotted on syrupy, trite love songs.

Shuman returned to America, vowing to find a way to introduce Brel's songs to an English speaking public. By this time, Nat Shapiro had heard Elly Stone perform Eric Blau's first translations of Brel, and wanted more. In November 1966, Nat Shapiro persuaded Mort Shuman to hear Elly Stone perform at Julius Monk's Plaza 9, despite Shuman's reluctance, which derived from his belief that only a male singer could do Brel justice. At a table with Shapiro and a very nervous Eric Blau, Shuman applauded politely. "She's good", he told Blau, "the translations are real good". It must have rankled him somewhat that it was Blau and not Shuman who first successfully translated Brel to English.

Nat Shapiro also had the idea for the perfect venue to introduce Brel to America - an off-Broadway show. Not exactly a revue, since that implied that the songs had been heard before, what eventually took shape was the first "libretto-less" musical, Jacques Brel Is Alive and Well and Living in Paris. In addition to Elly Stone and Eric Blau's enthusiasm for Brel's music, Elly's amazing talent had won Shuman over and convinced him to work with Blau on the translations. Two years later, their labor of love finally introduced Brel's songs to an American public that was as ready for Brel, as Brel's songs were ready for America.

I am somewhat puzzled by the negative reviews by those who insist that Brel's songs can never be appreciated in anything but the original French. When Eric Blau realized, as Mort Shuman had earlier, that Brel's songs could never be translated exactly to American English (steeped as they were in French life and politics), they agreed to go for the next best thing. They opted to translate Brel's songs as closely as they could, but, when this was not possible, they kept Brel's melodies while attempting to retain the spirit of his writing, if not his actual words. What resulted were often very good translations indeed. One only has to compare the French text of songs that became Jackie, the Old Folks, Brussels, the Middle Class, Madeleine or Amsterdam to realize that, for the most part, the narrative and spirit (and sometimes even the lyrics) closely matched Brel's originals. Two additional translations, Song For Old Lovers and My Childhood, which also resembled the originals, were recorded by Elly Stone on her (now very rare) self-titled Columbia album. Miss Stone also recorded Goodbye My Friends for her second album, which was arguably a superior version of Brel's Le Moribond than the dreadful version by Rod McKuen, Seasons In the Sun.

In other cases, the translations altered Brel's songs in such a way as to make them more palatable to American tastes, while retaining Brel's concept. Thus, Jef, a song in which a man tries to cheer up a drinking buddy who has lost a great love, becomes a love song, in which one partner attempts to bolster the melancholy spirit of their beloved. In fact, some would argue that the beautiful prose of No Love You're Not Alone not only equals the poetic imagery of Brel's original lyrics quite adequately, they are actually an improvement. Conversely, When We Only Have Love was transformed from a love song to an anthem for brotherly love, yet did not destroy Brel's concept or his "poetry", but successfully built on it. Brel, by the way, often pointed out that, in his culture, it would be unforgivably vain for a songwriter to compare himself to a poet. To the French, poetry is not only a much higher art form than songwriting, Brel did not consider songwriting an art at all, but merely "a craft". All told, there are, in fact, only a few songs in this show where the lyrics, content, spirit, tone and / or subject matter were completely altered from Brel's originals.

When the show premiered in Canada, the creators were terrified that they would be taken to task by the French Canadian press for daring to present Brel in English there, as Brel is highly prized in Canada. Instead, it was the English Canadian press who savaged the show. But the French Canadian journalist, Rudel-Tessier (a bi-lingual writer, quite familiar with Brel in French) stated flatly that, although in translating the work, some of Blau / Shuman went in and some of Brel came out, he found it marvelous to have Brel in English at all. And, he gently chided his peers by pointing out that, while Shakespeare is quite popular in French, the Bard will never be quite the same in French as he is in English. So, to those who say you cannot appreciate Brel's songs in anything but French I reply, this show was written for those who never have, and never will, understand a single word of French. Does anyone really think that those who only speak French should be deprived of Shakespeare?

Even if none of this were true, I would like to point out that Jacques Brel himself, armed with exact French translations of the English lyrics, personally approved every song that was written for the show before the decision to produce it was finalized.

Besides, the passion and reverence that these performers feel for Brel and this material is evident in every song, and to those who claim that this show is an insult to Brel, I answer that it's an insult to the efforts of this fine cast to suggest that they had anything but his best interests at heart, and, as someone who is quite familiar with Brel in French, I believe they succeeded brilliantly. And as fine a songwriter as you can argue that Brel is in French, well, Elly Stone is equally as fine a singer in any language, and I bemoan the fact that she virtually squandered the balance of her career championing Brel's work, when she could have made a major name for herself, based solely on her own talent. Having seen Elly Stone perform live many times (in and out of this show), I will attest to the fact that, in her prime, she had the most impressive voice I have ever heard in a concert hall.

And in the end, it was Brel himself who gave the supreme complement to this effort. At one point, Eric Blau fretted when, in order to more closely translate Brel's lyrics to la Mort (My Death), he and Shuman had to alter Brel's melody. When they sent the new song to Brel, he responded, "You have improved it; it's better than mine". A year after the show opened, Brel flew in to New York to see it. That night, he led a standing ovation for the performers, and modestly told Blau and Shuman repeatedly that they had not only exceeded his expectations, in many instances, they had improved his work. He also told Elly Stone that she was, "the finest lady performer" he had ever seen (including Piaf, whom she was often compared to unfairly) and he told her that he wanted to write new songs specifically for her. Unfortunately for us, he never had time, but it was a testament to her talent and artistic integrity that Brel offered.

And if Brel himself was pleased with the translations featured in this glorious production, why should anyone quarrel with that?

Altar Boyz (2005 Original Off-Broadway Cast)

Average customer rating:

Somethin's rotten, but not in zDenmark
very good
Enjoying the show all over again
Good...but the guys on tour are better
Enjoyable

Altar Boyz (2005 Original Off-Broadway Cast)
Gary Adler , Michael Patrick Walker , and Scott Porter
Manufacturer: Ghostlight Records
ProductGroup: Music
Binding: Audio CD

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The 25th Annual Putnam County Spelling Bee (2005 Original Broadway Cast)
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The Drowsy Chaperone (2006 Original Broadway Cast)
Spring Awakening (2006 Original Broadway Cast)
The Light in the Piazza (2005 Original Broadway Cast)

ASIN: B0009A40IE
Release Date: 2005-05-17

Tracks:

We Are The Altar Boyz
Rhythm In Me
Church Rulez
The Calling
The Miracle Song
Everybody Fits
Something About You
Body Mind & Soul
La Vida Eternal
Epiphany
Number 918
I Believe
Bonus Track 1

Amazon.com

Altar Boyz may ride on a single idea, but that idea is brilliantly carried through: What if there was an openly Christian boy band? Because the show's success depends on that one concept, every detail has to be perfec--and it is. Each member of the titular quintet is typecast--the Hispanic one, the gangsta one, the could-be-gay one, etc.--and the singers perfectly ape the perky 'N Sync/American Idol style, easily navigating between yelping pleading and bombastic bravado. The booklet even comes complete with lengthy, smarmy thanks from the Boyz ("big props to the Big Man in the sky"). As for the music, it's drenched in cheesy synths and appropriately catchy: Gary Adler and Michael Patrick Walker (contributing six songs each) may have gleefully nailed the genre's inane lyrics, but they didn't forget the melodies either. --Elisabeth Vincentelli

Customer Reviews:

Somethin's rotten, but not in zDenmark.......2007-07-12

Why spend fifteen minutes with this when you could be masturbating to your favorite fantasy?

very good.......2007-07-03

i really enjoyed this CD, the only problem i have with it is that the show was so amazing live that a CD can't quite do it justice. Regardless, it still made me happy.

Enjoying the show all over again.......2007-06-27

Having totally enjoyed the show live in San Francisco, every time I play this CD I am allowed to relive the experience. It was a fabulous production and I am so happy to hear them sing again and again.

Good...but the guys on tour are better.......2007-05-18

If you are buying this disc. after seeing Altar Boyz on tour you will be disappointed. Vocals just aren't as strong. I can't speak for the current off-broadway cast, haven't seen them perform. Over all, this cd is pretty good.

Enjoyable.......2007-05-12

Got the CD before I saw the show and it was amazing. Songs that stick, and you end up humming them all the time.

A must have for everyone.

Tick, Tick... Boom! (2001 Original Off-Broadway Cast)

Average customer rating:

A Vocally Dazzling Esparza Rides High on an Exuberant Pre-"Rent" Larson Score
Great tunes - great lyrics - great harmonies
Love the Music
Larson Lives
Fantastic Music, but i wouldnt want to see it live

Tick, Tick... Boom! (2001 Original Off-Broadway Cast)
Jonathan Larson , Amy Spanger , and Raul Esparza
Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Last 5 Years (2002 Off-Broadway Cast)
tick, tick ... BOOM!
The Wild Party (Lippa) (2000 Off-Broadway Cast)
Songs for a New World (1996 Original New York Cast)
Rent

ASIN: B00005NQK5
Release Date: 2001-09-11

Tracks:

30/90
Green Green Dress
Johnny Can't Decide
Sunday
No More
Therapy
Real Life
Sugar
See Her Smile
Come To Your Senses
Why
Louder Than Words
Boho Days
30/90 Playout

Amazon.com

Rent is usually treated as Jonathan Larson's one and only show, but the truth is that he had a career--albeit a hitless one--before that blockbuster. There was a musical titled JP Morgan Saves the Nation with lyrics by Jeffrey M. Jones and music by Larson. And there was Tick, Tick... Boom!, an autobiographical piece that Larson workshopped for a while before setting it aside and finishing Rent.

In 2001, Tick, Tick is getting a full off-Broadway production, and it's a rather endearing one. Lyrics have never been Larson's strong point, but he was a hell of a melodic composer--and the score here is even poppier than that of Rent (think Top 40 rather than Sondheim). It's hard to pick favorite songs: "Green Green Dress" is built on a rollicking piano boogie, for instance, and "Real Life" and "See Her Smile" are the kind of elegiac ballad that Larson would later perfect with "Seasons of Love." Luckily, this show has a lot more to offer than mere youthful musings. --Elisabeth Vincentelli

Customer Reviews:

A Vocally Dazzling Esparza Rides High on an Exuberant Pre-"Rent" Larson Score.......2007-06-16

Perhaps it's a coincidence that the immensely talented Raúl Esparza plays a character dreading his 30th birthday in this 2001 recording of the hit off-Broadway show by the late Jonathan Larson, while five years later, he would play the elliptical Bobby dreading his 35th birthday in the enthralling 2006 Broadway revival of Stephen Sondheim and George Furth's Company. In both performances, Esparza shows a true affinity for capturing the angst of men undergoing transitional points in their lives which render them emotionally paralyzed. At first glance, Sondheim and Larson would not seem like kindred spirits, but both share a gift for sophisticated lyrics in an unmistakable musical style defined by their oeuvres. Larson even pays tribute to Sondheim in the story's climax and with the sardonic, work-is-hell "Sunday", a take-off of the song with the same name in Sunday in the Park with George.

However, it is the familiar Larson sound of Rent that is heard most in this score - driving, rock-out rhythms with unavoidable pop hooks and yearning, piano-driven ballads. Even the opener, "30/90", is a virtual sound-alike of the bigger show's title tune. If the songs are not quite as polished or even memorable as those in Rent, they feel more personal because the autobiographical story is far more intimate in scale. Set in 1990 in the same SoHo neighborhood as Rent, it's a simple three-character piece about Jon, an aspiring composer who considers giving up his dreams on the verge of his 30th birthday. With charismatic fire, Esparza is equally adept using his beautifully expressive voice in a rock milieu as in a Sondheim character study. He brings energetic brio to finger-snapping rockers like the Twinkie-induced "Sugar" and especially shines on the ballads, "See Her Smile" and the revelatory "Why".

With a slightly pinched voice that reminds me a bit of the Bangles' Susanna Hoffs, Amy Spanger as girlfriend Susan duets nicely with Esparza on the touching "Johnny Can't Decide", the rocking "Green Green Dress", and the comical self-help wordplay of "Therapy". Her shining solo moment comes with the knockout ballad, "Come to Your Senses". As Jon's embattled pal Michael, Jerry Dixon provides powerful vocals, bringing particular warmth to "Real Life" and grit to the fed-up rave "No More". The trio closes the show powerfully with the anthem-like "Louder Than Words". The overall score is a bit derivative and a tad too earnest, but the youthful zest of the cast and Larson's pop craftsmanship more than compensate. Two bonus tracks are offered at the end - an instrumental replay of the opener, "30/90 Playout" and a rare recording of Larson singing "Boho Days" a capella with propulsive hand claps.

Great tunes - great lyrics - great harmonies.......2006-11-04

If you are a fan of the late great Mr. Larson you will love this music. Okay, I have seen the play a couple of times so I know what happens between the songs but this, his autobiography, really moved me. Even my kids like the Green Dress Song.

I hope you like it... The theme is "Actions Speak Louder Than Words" rings true today as the day he wrote it.

John we miss you.

Love the Music.......2006-08-22

I saw this play a few weeks ago, and really enjoyed the music, so I got the CD. The voices, and lyrics are amazing! However, as I often find with CDs of musicals, there wasn't always the right feeling in the voice, particularly in "Therapy" where couple ought to be angry at each other, and it seems more cute on the CD.

Larson Lives.......2006-05-06

I love Tick, Tick... Boom! The show is quite refreshing. The show works so well with three actors. I LOVE "30/90" and "Louder Than Words." Both speak really strongly to the audience because they both are really relatable to anyone's life. Admittedly the middle of the show drags a little, and Spangler's voice can be chipmunkish at times. However those are minor detractions when it comes to this show. It is especially moving if you know Jonathan's story. It is no Rent, but the short piece is really moving

Fantastic Music, but i wouldnt want to see it live.......2006-04-30

I was soo soo very pleased with the music from "Tick...Tick..BOOM!". Rock Operas are my favorite type of musical theatre, and i must say this is one of the best. The storyline, however, although dealing with bohemian problems like AIDS, rehersals, love, didnt meet the power of the music. It was taken from Johnathans original one-man show and made into a three-man show. This was the only way possible to make this conversion, but still it was a dull storyline only going over the time period of one day in the day in the life of Johnathan Larson. Yes, it was an important day, his thirtieth birthday and his friend annoucing that he is HIV positive, but none of this happens until the end. The show lacks obsession, and in order to make a good musical storyline there has to be an obsession. Luckily, the weak storyline is backed with fantastic music, perhaps even better than Rent. 30/90 is my all time favorite song EVER i have listened to it over and over and still am not sick of it. other favorite tracks include:
30/90
Green Green Dress
No More
Sugar
Come To Your Senses (originally from Superbia)
Louder Than Words
and i also enjoy the rest of the songs as well.